^p^s 



LIBRARY OF CONGRESS. 

: Shelf ..iJ v.: 

UNITED STATES OF AMERICA, 



THE 



SCIENCE OF UTTERANCE; 



DESIGNED FOR 



SUPPLEMENTARY INSTRUCTION 



Reading Classes of Public and Private Schools. 



By C. DEAK 



REVISED WITH THE ASSISTANCE OF 






JOSEPH ESTABROOK, M.A., 

State Superintendent of Public Instruction, Michigan; Formerly 
President of Michigan State XoR:\f al School. 



FOURTH EDITION. 



CHICAGO: 

JOHN C. BUCKBEE AND CO:VIPANY, 

1888. 




^^^^^^ 






Copyright, 1881, 1884, 1886, 1888, 
By C. dean. 



PREFACE. 



This work has been prepared for supplementary 
instruction in the art of reading. The end proposed 
is to train the vocal organs to express the sentiments 
as well as to appreciate the literature of ordinary- 
reading in public and private schools. The ability 
to properly present the ideas which are expressed in 
written composition depends largely upon the habits 
of utterance formed in the schoolroom. 

The ordinaiy Reader is designed as a text-book to 
assist in developing the powers of conception and 
inculcating a taste for literature, but the cultivation 
of the voice as pertaining to enunciation, articulation 
and expression, should be taught separately as a sub- 
ject, the application of which is essential in forming 
a complete education. 

The system, as arranged in the following pages, 
has been successfully used in schools, and is offered 
to teachers and pupils, with the hope and belief that 
it will serve the purpose for which it has been care- 
fully prepared. 

The writer takes pleasure in acknowledging in- 
debtedness to the numerous authors whose works have 
been consulted in the preparation of this little vol- 
ume. Among the number, special thanks are due 
Profs. Monroe, Kidd, Shoemaker, Griffith, and Lewis, 
for several examples used in the exercises. The later 
editions have been carefully revised with the assist- 
ance of prominent educators who are interested in the 
subject of reading as a means of instruction. C. D. 



NOTES FOR TEACHERS. 



The exercises in this book should be practiced 
alternately with the reading lesson. 

Each lesson has a purpose, which should be ex- 
plained to the class, in order that they may under- 
stand the results to be attained, and appreciate the 
importance of the practice. 

The essential elements of reading or speaking are 
voice, articulation, and expression ; and the cultiva- 
tion of these elements cannot fail to secure habits of 
utterance which are healthful to the speaker, and 
agreeable to the listener. 

VOICE. 

Voice is explained in Lessons II and VI. The 
exercises in Lessons III, IV and V are valuable as a 
means of strengthening the muscles of the chest, and 
of gaining control of the breath. Lessons VII, IX, 
XVII, XVIII, XIX, XX and XXI are adopted for 
the cultivation of clearness, smoothness, variety, 
flexibility, and strength of voice. The regular prac- 
tice of these vocal exercises is very strengthening to 
the muscles of the throat ; thus rendering them less 
susceptible to the effects of exposure and disease. 

AETICULATIOK. 

Articulation is a very important part of utter- 
ance ; but it is often neglected, or exaggerated to the 
extent of affectation. Great care should be exercised 
in drilling the class to articulate distinctly without 
giving undue prominence to the effort. 



b NOTES FOR TEACHERS. 

Lessons I, VIII and X explain the different 
sounds and their formation, according to the action 
of the organs of speech. Lessons XI, XII and XIII 
give excellent opportunity to cultivate proper. utter- 
ance of the various combinations of these sounds. 
The analysis of words as produced by the organs of 
speech is a good mental discipline, which frequently 
develops a taste for analytical work. 

EXPRESSION. 

Proper expression in reading is the great object 
to be attained by these exercises. Pupils should be 
required to read every sentence with the same ex- 
pression as when speaking their own thoughts. By 
this means a true impression is always conveyed. If 
this effort is made a special exercise, a desire for 
investigation and study will be promoted, greatly 
adding to the interest of every branch of knowledge. 
Lesson XXVIII contains easy examples for practicing 
conversational tones in reading. 

To vary the exercises, many of the selections may 
be used for vocal training. Those on pages 80, 86, 
90, 93, 99, 101 and 110 were selected for this purpose. 
If rightly conducted, concert reading is very bene- 
ficial to pupils, on account of the greater amount of 
practice obtained, and the better style of expression 
required. The selections on pages 101 and 113 are 
very effective when skillfully rendered. 

Note. — This book may be used with equal advan- 
tage in the Grammar School or High School. The 
writer has obtained by its use most satisfactory 
results in the last four grades of the Grammar School. 



CONTEI^TS. 



LESSON I. 

The science of utterance Page 11 

Analysis of words 11 

Simple vocals 11 

Compound vocals 12 

Sub-vocals 12 

Aspirates 12 

Compound consonants 12 

LESSON n. 

Analysis of voice 13 

Rules for the management of the breath 13 

Muscular development of the chest 13 

LESSON m. 

Chest expansion 14 

Shoulder movements 15 

Development of the lungs 15 

Percussion of the chest 16 

Percussion with arm movement 16 

LESSON IV. 

Exercises in breathing , 17 

LESSON V. 

Exercises in breathing. — Continued 17 

LESSON yi. 

Organs of the throat 18 

LESSON yn. 

Tones 20 

Exercises In vocal tones 21 

(7) 



8 CONTENTS. 

LESSON vni. 

Exercises in consonants • . . . • 23 

LESSON IX. 

Vowels and consonants 24 

LESSON X. 

Labials 25 

Dentals 25 

Palatals 25 

Nasals 25 

Aspirate 25 

Linguals 25 

LESSON XI. 

Articulation 26 

Aspirate consonants 26 

Voice consonants 27 

Difficult double and triple consonants 27 

LESSON XIL 

Difficult combinations 27 

LESSON XIIL 

Recreations in articulation 29 

LESSON XIV. 

Vocal sounds * . , 83 

LESSON XV. 

Vowel and consonant sounds 35 

Aspirate sounds in plurals 36 

Unaccented vowels 36 

Exercise in pronunciation 37 

LESSON XVI. 

Vocal practice 38 

Orotund voice 38 

LESSON XVII. 

Quality of pure and orotund voice , , . 40 

Pitch 40 

Gamut for varying the pitch of the speaking voice 40 

Force , 42 



CONTENTS. 9 

LESSONS xvra. 

stress , , , 42 

Radical stress • 42 

LESSON XIX. 

Medium stress 44 

Vanishing stress 44 

LESSON XX. 

DerivatiYe forms of stress 45 

Thorough stress 45 

LESSON XXI. 

Compound stress 46 

LESSON XXII. 

Movement 47 

Quantity , 48 

LESSON XXIII. 

Inflections . 49 

Rising inflection 49 

Falling inflection 50 

Circumflex 60 

LESSON XXIY. 

Pauses 52 

Parenthesis 52 

. LESSON XXV. 

Emphasis 53 

Cadence 54 

LESSON XXVI. 

Impure tones 56 

Aspirate , 56 

Guttural 56 

Falsetto 57 

LESSON XXVII. 

Position 57 - 

Countenance 59 

Gesture 59 

Directions and abbreviations 60 



LESSON XXVIII. 
Exercises in conversational tones 60 



10 CONTENTS. 

LESSON XXIX. 

Expression 64 

LESSON XXX. 

Transition 65 

Examples in transition 66 

Questions for examination 70 

How to criticize ntterance 73 

Hamlet's instruction 73 



SELECTIONS. 

The elocution of the pulpit 75 

The cynic 77 

Definition of eloquence 78 

The old forsaken school-house 79 

Evening at the farm 80 

Hamlet's soliloquy 82 

A Legend of Bregenz 83 

Char-co-o-al 86 

Supposed speech of John Adams 88 

Bugle song 90 

Ignorance in our country a crime 91 

Charge of the light brigade 93 

Apostrophe to cold water 94 

Superficial learning 96 

Industry and eloquence 97 

The burning ship 99 

The bells 101 

Physical geography and history 104 

Clarence's dream 109 

The charcoal man 110 

The bells of Shandon 112 

The cataract of Lodore 113 

Nobody's child 114 



APPENDIX. 
Words often mispronounced 117 



SCIENCE OF UTTERANCE, 



LESSOX I. 



The science of utterance teaches the proper de- 
livery of words. 

ANALYSIS OF WORDS. 

Words are a combination of articulate sounds. 

These sounds are represented by letters, and pro- 
duced by the organs of speech. 

In the English language there are twenty-six let- 
ters, each representing one or more sounds. 

The letters are divided into vowels and conso- 
nants. 

The sounds are divided into vocals, sub-vocals, 
and aspirates. 

Vowels represent vocal sounds ; consonants repre- 
sent sub-vocal and aspirate sounds. 

Vocals are unobstructed voice sounds ; sub-vocals 
are obstructed voice sounds ; and aspirates are breath 
sounds. 

Vocal sounds are simple and compound. 

TABLE OF SIMPLE VOCALS. 



1. 


a as in 


arm, far, car. 


7. 


i as in it, ill, in. 


2. 


a 


u 


all, or, law. 


8. 


6 " on, dog, what 


3. 


i 


a 


dare, fare. 


9. 


00 '' ooze, rule, moon 


4. 


i 


« 


at, can, lad. 


10. 


So " book, good, put 


5. 


e 


a 


eve, me, the. 


11. 


er " her, urn, str. 


6. 


S 


u 


ell, end, met. 


12. 


u " up, sup, us. 



12 



THE SCIENCE OF UTTERANCE. 



Compound vocals are composed of two simple 
vowel sounds. 



TABLE OF COMPOUND VOCALS. 



13. a as in ale. 



has the sound of 



14. 


i " 


ice, " 


15. 


*^ 


old, " 


16. 


ou " 


out, now, ^* 


17. 


oi " 


oil, joy, " 


18. 


u " 


use, few, " 



a+e. 

a+i- 
o-f-oo. 

a-f-1. 

1+00. 



TABLE OF SUB-VOCALS. 



19. b as in boy, ebb, bat. 



20. 


d 


'' did, dog, die. 


28. 


n '^ run, on, an. 


31. 


g' 


' gag, go, wag. 


29. 


ng " sing, ring. 


33. 


i 


' judge,joy,wedge. 


30. 


1 ^' lo, bill, will. 


23. 


V 


* valve, wave, vale. 


31. 


r " roar, rear, row 


34, 


th 


'* tbee,tbis,breatbe. 


32. 


w " we, way, war. 


85. 


z 


'' zeal, zone, rise. 


33. 


y '* yes, yet, year. 


36. 


zb ' 


' azure, measure. 







27. m as in man, me. 



TABLE OF ASPIRATES. 



34. p as in pipe, cap. 

35. t *' top, met. 

36. k '* back, cbasm. 

37. f '' fife, laugh. 

38. cb ** church, which. 



39. th as in thin, think. 

40. s " see. hiss, dice. 

41. sh *' she, wish. 

42. h ** horse, home. 

43. wh *' what, when. 



COMPOUND CONSONANTS. 



44. X sounds like k-fs or g+^ as in ox, locks, exact. 

45. qu sounds like k+w — , as in quart, quarter. 



THE SCIENCE OF UTTERANCE. 



13 



LESSON II. 

ANALYSIS OF VOICE. 

The proper delivery of words depeads on voice, 
articulation, and expression. 

Voice is produced by the vibration of the edges 
of the glottis, caused by the breath passing over the 
vocal cords (which are situated in the larnyx), and 
through the cavities of the mouth and nose. 

Perfect control of the breath and vocal organs will 
produce a clear, full, and resonant voice. 

HINTS FOR THE MANAGEMENT OF THE BREATH. 

I. Always inhale through the nostrils. 

II. Take a deep inspiration, expanding the ab- 
domen, waist and chest. 

III. Keep the lungs well inflated while reading 
or speaking. 



MUSCULAR DEVELOPMENT OF THE 
CHEST. 

Position — Expand the chest and the 
upper part of the body as if defying a 
blow, and you have the active chest. 

Eelax the muscles and let the chest fall 
as if fatigued, and you have the passive 
chest. 



/ 



14 



THE SCIENCE OF UTTERANCE. 



LESSON 111. 




I.— CHEST EXPANSION. 

Position — Elbows sharply bent 
and close to the side, fore-arm hori- 
zontal, fingers curved, palms up- /-j.^..,. 
ward. Take a deep inspiration. '-..^ 
Hold the breath. 

1. Extend the arms forward 
with force, relaxing the muscles 
and opening the hands, palms 
downward. 

2. Bring the arms energetically 
back to their former position, ex- 
panding the chest as much as possible. 

3. Expel the breath through the nostrils, take a 
fresh inspiration, and repeat from first movement. 

n.— SHOULDER MOVEMENTS. 

Position — ^Arms falling easily at the side. Take 
a full breath. 

1. Bring the shoulders forward, contracting the 
chest. 

2. Throw the shoulders back and down, expand- 
ing the chest. 

3. Eepeat these two movements with expiration 
and inspiration of the breath. 



THE SCIENCE OF UTTERANCE. 



15 




ni.— SHOULDER M0VE:MENTS,— ARMS BENT. 

Position— Fingers curved at the 
side of the shoulders, palms for- 
ward, fore-arms vertical. 

1. Bring the hands, palms in- 
ward, nearly touching each other 
about three inches from the chin. 

2. Throw the fore-arms back, as 
in last position, fingers curved, 
palms outward. 

3. Repeat with expiration and 
inspiration. 

DEVELOPMENT OF THE LUNGS. 

1. Bring the tips of the fingers 
to the shoulders, inhaling the 
breath through the nostrils at 
the same time. 

2. Strike downward and for- 
ward, curving the fingers with 
the palms front, and expelling 
the breath through the nostrils 
with the movement. In this 
movement keep the body steady 
and let the expulsion be done 

by the abdominal muscles and diaphragm. 




if^ 



THE SCIENCE OF UTTERANCE. 



PERCUSSION OF THE CHEST. 

Place the closed hands on the chest, 
with the elbows at the side. Take a 
deep inspiration through the nostrils. 
Hold the breath. 

1. Strike on the chest rapid per- 
cussive blows with the hand from the 
elbow. 

2. Expel the breath through the 

nostrils, inhaling deeply. Repeat the 

first movement. 

N. B. — The blows should be light at first. When 
the practice is easy, they may be increased in force, 
but always free from violence. 




PERCUSSION WITH ARM MOVEMENTS. 

Position — Let the hands fall 
easily at the side; take a full 
breath. 

1. Swing the arms from the 
shoulder alternately, giving elas- 
tic but not heavy blows upon 
the chest, below the collar-bone. 
Give two blo^\ns with each hand. 

2. Exhale and inhale the 
breath as in the preceding ex- 
ercises. 




THE SCIENCE OF UTTERANCE. 17 

LESSON IT. 

EXERCISES IN BREATHING. 

1. Eelax the muscles of the chest. Take a full 
breath, expanding the chest to its fullest capacity. 
Exhale gradually. 

2. Expand the sides while i^ihaling. Exhale 
gradually. 

3. Inhale, expanding the entire waist as if trying 
to burst a belt. Expel the breath by contracting the 
whole waist. 

4. Inhale, directing the will to the muscles of the 
back and expand them as much as possible. Expel, 
drawing these muscles inward. 

5. Breathe deeply, expanding the chest and waist. 
Hold the breath as long as possible. Expel slowly. 

6. " Inhale slowly, exercising the will upon all 
parts of the body simultaneously. Exhale slowly. 
This is an intense form of what should be the natural 
habit of breathing." 

N. B. — Inhale and exhale through the nostrils. 
Commence gradually and discontinue ii* any sensa- 
tion of dizziness is experienced. Persons not accus- 
tomed to habits of full breathing will derive special 
advantages from these exercises. 



LESSON Y. 

EXERCISES IN BREATHING.— CONTINUED. 
Stand perfectly erect, the weight of the body 
resting on one foot, the other in advance, the arms 

2 



18 THE SCIENCE OF UTTERANCE. 

akimbo, with fingers pressing on the abdominal mus- 
cles in front and the thumbs on the dorsal muscles 
each side of the spine, the chest fully expanded, the 
shoulders held backward and downward. 

Inhale slowly until the lungs are well expanded, 
retain the breath a moment, exhale slowly ; repeat 
six times in succession. 

Inhale quickfy; exhale through the mouth slowly 
and quietly, as in natural breathing, retaining the 
active chest. Eepeat six times. 

Expand the lungs to their utmost capacity, ex- 
pel slowly through the open mouth, gently sounding 
the letter h; repeat six tknes. This exercise is called 
effusive breathing. 

Expand the lungs as before, expel with force as 
in a whispered cough ; repeat six times. This exer- 
cise is called expulsive breathing. 

Expand the lungs as usual, expel suddenly with 
great force as if whispering loudly '^who'' to a person 
in the distance ; repeat six times. This is called ex- 
plosive breathing. 

]Sr. B. — Avoid irritating the throat. Whenever 
the exercise causes coughing, the effort is too violent. 



LESSON YI. 
ANALYSIS OF VOCAL ORGANS. 

The glottis is the opening at the upper part of 
the larynx. 

The larynx is at the top of the windpipe, and is 
the organ of voice. It is susceptible of a multitude 
of changes, affecting the pitch, force, and quality of 
the voice. 

The passa^ge between the larynx and mouth is 
called the pharynx, and is susceptible of various de- 
grees of expansion and contraction. 



THE SCIENCE OF UTTERANCE. 19 

In front of the pharynx is the month, which is 
thrown open by the movement of the lower jaw, and 
produces the full effect of a round, smooth, and 
agreeable tone. 

At the top of the pharynx, behind the soft palate, 
is the entrance to the nasal passages. When the 
soft palate is raised it prevents the breath from pass- 
ing into the nose, and when it is depressed the 
breath flows through the nostrils as well as into the 
mouth. 

THE VOCAL ORGANS. 



FiQ. 7. 
1. Larynx. 2. Pharynx. 8. Uynlft. 

4. Nasal Passage. 5. Base of Tojiga%, 6. Top of Ton^«. 

7-7. Point of Tongue. 8. Lipa. 9. Glottis. 



20 



THE SCIENCE OF UTTERANCE. 





Fig. 8. 

Interior of the mouth when 
the tone is impure. 



Fig. 9. 

Interior of the mouth when 
the tone is pure. 



LESSON YII. 

TONES. 

Tones are pure or impure. 

Pure tone is that quality of voice in which all the 
breath is converted into a clear, round, smooth, and 
agreeable sound. It is free from nasal or impure 
quality. 

Impure tones are used in expressing malignant 
feelings, passions, personations, and mimicry. 

Pure tone is used more than any other quality of 
voice, and should be cultivated. The most severe 
and sustained exercise of the voice in pure tone, if 
pitched in the right key, will strengthen and invig- 
orate the lungs and throat and give a healthful stim- 
ulus to the vital organs. 

Commence with the sound of aA, as that is the 
most open sound. 



THE SCIENCE OF UTTERANOB. 21 

If ah is produced in a deep, full tone, the palate 
and the uvula will rise, while the tongue lies flat, 
and the top of the windpipe descends as in Pig. 9. 

If ah is produced in a nasal tone, the uvula will 
fall and appear to touch the tongue, as in Fig. 8. 

^' To think a gape " will place the vocal organs 
in position for pure tones. 

EXERCISES IN VOCAL TONES. 

Active chest. — Inhale the breath until the ab- 
domen, waist and chest are expanded. Keep the 
head erect but not stiff, and the chest and shoulders 
firm and steady. The effort is made by the working 
of the muscles of the abdomen and the relaxation 
and contraction of the diaphragm.* 



Sound a, a, o, oo, a, e, sending the voice out in a 

straight column, as follows : — 



g 


2. 

Sound the vocals with one breath, as follows : — 


a 


a 6 00 a e 



3. 

Sound the vocals with one breath, breaking the 
sound at the beginning of each one : — 



*Tlie diaphragm is the muscle separating the chest from the abdo- 
men, and by its muscular contraction and dilatation, assists inspiration 
and expiration. 



22 



THE SCIENCE OF UTTEEANGB. 



4. 



Sonnd each vocal, commencing softly, advance to 
greater force, then gradually decrease the sound : — 



Sound each vocal explosively, as follows : — 

6. 
Sound each vocal in a powerful and distinct whis- 
per, as if calling to a person at a distance. 

7. 
Sound each vocal as if asking a question — 

a-^"^^ a--^"'"^ 0^'"'^^ 



0^^ 00 ---^ a-^^ e^''^ 

8. 
Sound each vocal as if answering a question : — 
ii-^ a--^^ 0^-^.^ 00^..^ a^-.^ ^--^^ 



Sound each vocal, as in laughing, as follows: — 



SU^rs. 



'"^*i''N^''V'^w/'>w-\,/^w» 



10. 



Sound each vocal rapidly, as in laughing : — 
it «'^^^^^>i'*«<a .^•*x%i<%^%t o^^^'"^'^^"*« oo''-'^**'''*^'^' a''^''*-''**'"^-' e-**** 



Note. — The above vocal sounds are the sounds 
from which all other vocal sounds are derived. 



THE SCIENCE OF UTTERANCE. 



23 



LESSON yiii. 

EXERCISES IN CONSONANTS IN THE ORDER OF THEIR 
FORMATION. 

In practicing across the page, the position of the 
mouth is similar for each letter. In practising verti- 
cally, the action begins with the lips and recedes 
toward the back of the mouth, passing from a whis- 
per to voice, as p to b. 





ASPIRATE. 




StJl 


i-YOCAL. 


Name. 




Sound. 


Name 




Sonnd. 


P 


as in 


pipe, cap. 


b 


as in 


boat, bat. 


wh 




why, when. 


w 


(( 


wine, we. 


f 




fat, fife. 


V 


u 


vine, vat. 


th 




thin, pith. 


th 


u 


then, that. 


s 




sin, sis. 


z 


u 


zone, zoe. 


t 




top, too. 


d 


li 


dog, day. 


sh 




shad, sure. 


zh 


u 


azure, vision 


h 




hat, home. 


y 


a 


yet, yes. 


k 




kite, kine. 


g 


u 


gag, go. 


eh 




chain, such. 


j 


li 


jump, joy. 



LIQUIDS. 

Liquids are sub-vocals that may be prolonged. 



fame. 




Sound. 


Name. 


Sonnd. 


m 


as in 


man, mum. 


r as in 


rear, rank. 


n 

1 




nun, name, 
lame, lull. 


ng « 


sing, singing. 



The correct sounding of consonants in words is 
necessary to perfect articulation, and is also indis- 
pensable to intelligent speech. 



24 THE SCIENCE OF UTTERANCE. 

LESSON IX. 

VOWELS AND CONSONANTS. 

Correct enunciation depends on the distinct utter- 
ance of the proper sound of the vowels and conso- 
nants contained in a word. 

Practice the following words, giving the proper 
sounds to the vowels and consonants. 

1. Assume the proper position; inhale through the 
nostrils; open the mouth as wide as possible; raise 
the palate ; the larynx and base of tongue depressed ; 
the lower jaw dropped ; commence each word softly, 
advance t^ greater force and then gradually decrease 
the sound. 

2. Sound each word with one breath, pausing 
after each sound as follows : b-ii-m. 

3. Sound each word in a powerful and distinct 
whisper. 

4. Pour them forth as if calling to a person afar 
oflf. 

EXERCISES. * 

1. Arm, balm, calm, palm, farm. 

2. Awe, ball, call, pall, fall. 

3. Ho, bow, flow, go, row, lo, no. 

4. Coo, do, who, pool, rue. 

5. Way, gay, main, pain, rain. 

6. Eel, seal, feel, peel, reel. 

7 . Inhale through the nostrils, expanding the 
lungs to the greatest capacity ; expel the breath by 
counting 1, 2, 3, 4, 5, 6, etc. 



THE SCIENCE OF UTTERANCE. 



25 



LESSON X. 

CONSONANTS ARRANGED ACCORDING TO THE ACTION 
OE THE ORGANS OF SPEECH. 

LABIALS. 

Labials or lip sounds are made chiefly with the 
lips ; there is a firm compression of the lips to arrest 
the escape of the breath ; then the lips are suddenly 
separated, as follows : — 

b as in bab. 

V " vive. 



p as in pipe. 
w " woe 



m as m mum. 
f " fife. 



DENTALS. 

Dentals or teeth sounds are made by tlie tongue, 
pressing on the teeth or the gums, as follows : — 



t as in tat. 


d as in did. 


th as in thin. 


th " the. 


zh " azure. 


sh " she. 


fl " sis. 


z " zuz. 

j " j^dge. 


ch " etch. 



PALATALS. 

Palate sounds are made by the tongue pressing 
on the palate, as follows: — 
k as in kirk. | g as in gay. | y as in ye. 

NASALS. 

Nasals sounds are made by the tongue pressing 
against the gums above the upper front teeth, the 
sound passing through the nose, and the lips open. 
Ng is sounded by drawing back and elevating the 
tongue against the veil of the palate so that the 
€Ound becomes thoroughly nasal. 
n as in nun. | ng as in sing. | nk as in ink. 



26 THE SCIENCE OF UTTERANCE. 

ASPIRATE. 

Aspirate sounds are made by a simple effort of 
the breath as follows: — 

h as in ha. 

LINGUALS. 

Linguals depend on the action of the tongue, 
which is raised, the tip pressing gently against the 
roof of the mouth, touching the ridge of the upper 
front teeth. 

1 as in lull. I r as in roar. 



LESSON XI. 

ARTICULATION. 

Articulation consists in giving every sound in a 
syllable or word proper utterance, and in making a 
distinction between the syllables of which words 
are composed, according to the standard of pro- 
nunciation. 

Pronounce each of the following words. Do not 
fail to complete the sound of every consonant by 
restoring the vocal organs to their normal state: — 

1. Slowly, taking breath between each sound. 

2. Eapidly and energetically. 

3. In whispers. 

ASPIRATE CONSONANTS. 
Pity, pulp, peter, paper, fitter, falter, filter, laugh,, 
rough, thin, tent, taller, elk, wash, post, posts, health,, 
height, milk, nymph, strength, call'st, roll'st, heaFst,^ 
tc^4 trusts, straightest, sect, church, shrine, shrub. 



THE SCIENCE OP UTTERANCE. 27 

fTOICE CONSONANTS. 

Blame, brave, bleed, blow, blest, bread, drain, 
barb, orb'd, disturb'd, gorg'd, barr'd, bulbs, delve, 
barbarous, babe, eggs, stabb'd, builds, guinea, groat, 
giddy, giggling, deadly, adjudged, fatigued, vulgar, 
vague. 

DIFFICULT DOUBLE AND TRIPLE CONSONANT ENDINGS. 

And, buds, wasp, alps, gulfed, tenths, lengths, 
ringst, depths, droopst, laughst, asps, helpst, twelfths, 
attemptst, thinkst, precincts, overwhelmst, sixths, 
tests, charmst, diggst, hundredst, beggdstj catchdst, 
actst, tasks. 



LESSON XII. 

DIFFICULT COMBINATIONS. 

1. A big black bug bit a big black bear. (Repeat.) 

2. Did you say a notion or an ocean ? 

3. I snuff shop snuff ; do you snuff shop snuff ? 

4. He crossed wastes and deserts and wept bit- 
terly. 

5. The sun shines on the shop signs. 

6. Would that all difference of sects were at an 
end. 

7. The old cold scold sold a school coal-scuttle. 

8. Eight great gray geese grazing gaily into 
Greece. 

9. The cat ran up the ladder with a lump of raw 
liver in her mouth. 

10. Amos Ames, the amiable aeronaut, aided in an 
aerial enterprise at the age of eighty-eight. 



28 THE SCIENCE OF UTTERANCE. 

11. Thou bridl'dst thy tongue, wreath'dst thy lips 
with smiles, imprison'dst thy wrath, and truckl'dst 
to thine enemy's power. 

12. Thou reason'dst falsely, harden'dst thine heart, 
smother' dst the light of thine understanding, heark- 
en'dst to the words of lying lips, and doom'dst thy- 
self to misery. 

13. Thirty-three thousand and thirty -three thought- 
less youths thronged the thoroughfare and thought 
that they could thwart three thousand thieves by 
throwing thimbles at them. 

14. His exclamation was, ^^ chaste stars," not " chase 
tars." 

15. Sheba Sherman Shelly sharpened his shears 
and sheared his sheep. 

16. Benjamin Bramble Blimber, a blundering 
banker, borrowed the baker's birchen broom to 
brush the blinding cobwebs from his brain. 

17. Some shun sunshine; do you shun sunshine? 

18. Man wants but little here below, nor wants 
that little long. 

19. Foreign travel enlarges and liberalizes the 
mind. 

20. Some sell sea-shells ; do you sell sea-shells ? 

21. Don't run along the wrong lane. 

22. PercivaZ'5 acts and extracts. 

23. He boasts, he twists the texts to suit the several 
sects. 

24. He sawed six sleek slim saplings. 

25. Thou wreath'dst and muzzledst the far-fetched 
ox. 

26. Amidst the mists, he thrusts his fists against 
the posts. 



THE SCIENCE OP UTTERANCE. 29 

27. The ineligibility of the preliminaries is unpar- 
alleled. 

28. The swan swum over the sea, well swum swan. 

29. Theophilus Thistle, the successful thistle sifter, 
in sifting a sieve of unsifted thistles, thrust three 
thousand thistles through the thick of his thumb. 

30. Such individual irregularities are generally ir- 
remediable. 

31. He acted contrary to the peremptory injunc- 
tions that were given. 

32. Execrable Xantippe exhibited extraordinary 
and excessive irritability. 

33. The rough and rugged rocks rear their hoary 
heads high on the heath. 

34. We alienate many by requiting a few with su- 
pernumerary gratuities. 

35. An inalienable eligibility of election, which 
was of an authority that could not be disputed, ren- 
dered the interposition of his friends altogether su- 
pererogatory. 

36. Whelply Whewell White was a whimsical, 
whining, whispering, whittling whistler. 



LESSON XIII. 

RECREATIONS IN ARTICULATION. 

A day or two ago, during a lull in business, two 
little boot-blacks, one white and one black, were 
standing at the corners doing nothing, when the 
white boot-black agreed to black the black boot- 
black's boots. The black boot-black was of course 
willing to have his boots blacked by his fellow boot- 



30 THE SCIENCE OF UTTERANCE 

black, and the boot-black who had agreed to blaci 
the black boot-black's boots went to work. 

When the boot-black had blacked one of the blacl 
boot-black's boots till it shone in a manner that 
would make any boot-black proud, this boot-black 
who had agreed to black the black boot-black's 
boots refused to black the other boot of the black 
boot-black until the black boot-black, who had con- 
sented to have the white boot-black black his boots, 
should add five cents to the amount the white boot- 
black had made blacking other men's boots. This 
the boot-black whose boot had been blacked refused 
to do, saying it was good enough for a black boot- 
black to have one boot blacked, and he didn't care 
whether the boot that the white boot-black hadn't 
blacked was blacked or not. 

This made the boot-black who had blacked the 
black boot-black's boot as angry as a boot-black 
often gets, and he vented his black wrath by spitting 
upon the blacked boot of the black boot-black. 
This roused the latent passions of the black boot- 
black, and he proceeded to boot the white boot-black 
with the boot which the white boot-black had blacked. 
A fight ensued, in which the white boot-black who 
had refused to black the unblacked boot of the black 
boot-black blacked the black boot-black's visionary 
organ, and in which the black boot-black wore all 
the blacking off his blacked boot in booting the 
white boot-black. 

Shrewd Simon Short sewed shoes. Seventeen 
summers' storms and sunshine saw Simon's small, 
shabby shop standing staunch, saw Simon's self-same 
sign still swinging, silently specifying: "Simon 



THE SCIENCE OF UTTERANCE. 31 

Short, Smithfield's sole surviving shoemaker. Shoes 
sewed and soled superfinely." Simon's spry sedulous 
spouse, Sally Short, sewed shirts, stitched sheets, and 
stuffed sofas. Simon's six stout sturdy sons — Seth, 
Samuel, Stephen, Saul, Shadrach, and Silas, sold 
sundries. Sober Seth sold sugar, starch, spices; 
Simple Sam sold saddles, stirrups, screws; sagacious 
Stephen sold silks, satins, shawls; skeptical Saul sold 
silver salvers, silver spoons; selfish Shadrach sold 
shoe strings, soaps, saws, skates; slack Silas sold 
Sally Short's stuffed sofas. 

Some seven summers since, Simon's second son, 
Samuel, saw Sophia Sophronia Spriggs somewhere. 
Sweet, sensible, smart Sophia Sophronia Spriggs! Sam 
soon showed strange symptoms. Sam seldom stayed 
at the store selling saddles, but sighed sorrowfully, 
sought Sophia Sophronia's society, sang several sere- 
nades slyly. Simon stormed, scolded severely, said 
Sam seemed so silly, singing such shameful, senseless 
songs. 

"Strange Sam should slight such splendid sum- 
mer sales," said Simon. " Strutting spendthrift! shat- 
ter-brained simpleton!" 

"Softly, softly, sire," said Sally; "Sam's smitten 
—Sam's spied a sweetheart. 

"Sentimental schoolboy!" snarled Simon; "Smit- 
ten! Stop such stuff!" 

Simon sent Sally's snuff-box spinning, seized 
Sally's scissors, smashed Sally's spectacles, and scat- 
tered several spools. " Sneaking scoundrel ! Sam's 
shocking silliness shall surcease ! " Scowling Simon 
stopped speaking, starting swiftly shopward. Sally 
sighed sadly. Summoning Sam she spoke sweet 
sympathy. 



32 THE SCIENCE OP UTTERANCE. 

" Sam," said she, " sire seems singularly snappy: 
so, son, stop strolling, stop smoking segars, and 
spending specie superfluously; stop sprucing so; 
stop singing serenades, — stop short: sell saddles, 
son; sell saddles sensibly; see Sophia Sophronia 
Spriggs soon; she's sprightly, she's staple, so solicit 
and secure Sophia speedily, Sam." 

"So soon? so soon?" said Sam, standing stock 
still. 

"So soon! surely," said Sally, smiling, "specially 
since sire shows such spirit." 

So Sam, somewhat scared, sauntered slowly, shak- 
ing stupendously. Sam soliloquizes: 

" Sophia Sophronia Spriggs Short — Sophia Soph- 
ronia Short, Samuel Short's spouse — sounds splendid! 
Suppose she should say — she sha'n't!" 

Soon Sam spied Sophia starching shirts and sing- 
ing softly. Seeing Sam, she stopped starching and sa- 
luted Sam smilingly. Sam stammered shockingly: 

" Sp-sp-splendid summer season, Sophia." 

<* Somewhat sultry," suggested Sophia. 

" Sar-sartin, Sophia," said Sam. (Silence seven- 
teen seconds.) 

" Selling saddles still, Sam?" 

" Sar-sar-sartin," said Sam, starting suddenly. 
" Season's somewhat soporific," said Sam, stealthily 
staunching streaming sweat, shaking sensibly. 

" Sartin," said Sophia, smiling significantly. " Sip 
some sweet sherbet, Sam." (Silence sixty seconds.) 

"Sire shot sixty sheldrakes, Saturday," said 
Sophia. 

" Sixty? sho! " said Sam. (Silence seventy-seven 
seconds.) 



THE SCIENCE OF UTTERANCE. 33 

" See sister Susan's sunflowers," said Sophia, so- 
ciably scattering such stiff silence. 

Sophia's sprightly sauciness stimulated Sam 
strangely: so Sam suddenly spoke sentimentally: 
" Sophia, Susan's sunflowers seem saying, ^ Samuel 
Short and Sophia Sophronia Spriggs, stroll serenely 
and seek some sequestered spot, some sylvan shade. 
Some sparkling spring shall sing soul-soothing 
strains ; sweet songsters shall silence secret sighing ; 
suj)er-angelic sylphs shall — ' '* 

Sophia snickered; so Sam stopped. 

" Sophia," said Sam solemnly. 

*^ Sam," said Sophia. 

"Sophia, stop smiling. Sam Short's sincere. 
Sam's seeking some sweet spouse, Sophia. Speak, 
Sophia, speak! Such suspense speeds sorrow.'* 

" Seek sire, Sam, seek sire." 

So Sam sought sire Spriggs. Sire Spriggs said, 
" Sartin." 

Seven short sabbaths later saw Sophia Sophronia 
Spriggs the smiling spouse of Simon Short's son 
Samuel. 



LESSOIT XIY. 

VOCAL SOUNDS. 

The sound of a not followed by r is frequently 
mispronounced, using the short sound. Examples — 
balm, calm, palm, psalm, calf, half, wrath, aunt, 
laugh, mustache. 

The sound of a as in ash^ pass, dance, etc, is fre- 



34 



THE SCIENCE OF UTTERANCE. 



quently pronounced with the short sound of a as in 
at by many educated speakers, although eminent 
orthoepists give it the sound of a, or an intermediate 
sound marked a. This sound occurs chiefly in words 
ending mff^ft^ ss, sk, sp, nee, nt, st. 

EXAMPLES. 



aft 


bombast 


draft 


last 


after 


bask 


dance 


lance 


alas 


basket 


fast 


lass 


amass 


blanch 


graft 


mass 


aghast 


branch 


glass 


mask 


ask 


craft 


ghastly 


mast 


asp 


class 


grant 


pass 


advance 


contrast 


glance 


pant 


answer 


cast 


haft 


plaster 


ant 


casket 


hasp 


pastor 


Short should not be sounded like broad a, nor 


like Italian iU 










EXAMPLES. 




on 


dog 


log 


off 


often 


soft 


long 


prong 


song 


strong 


thong 


gone 



Webster says this sound is like broad a shortened. 

Long H is often incorrectly sounded, like do 
when preceded by d, g, j, 1, n, s, t, ch, th, wh, z. 
Examples, — dubious, duke, duet, due, June, juice, 
jubilee, lunacy, lute, lucid, luminous, new, nude, neu- 
ter, nuisance, suit, sue, suicide, tune, tube, Tuesday, 
chew, illume, institute, thews, whew. 

Long u represents the sound of do. after r and sh. 

Examples. — Eude, true, grew, shute, fruit. 



THE SCIENCE OF UTTERANCE. 35 

The sound of d as in fare should not be given the 
vanishing element e, as in haven. It is frequently pro- 
nounced with short a, although not sanctioned by 
orthoepists. 

When or occurs in an accented syllable, followed 
by a vowel or by r, it has its regular short sound. 

Examples. — Orange, torrid, foreign, coral, cor- 
ridor, coronet. 

Some orthoepists make a distinction in the sounds 
of wr, as in urn^ er as in her, ir as in Jlrst] also 
ear as in heard, or as in work, our as in scourge, 
^ as in myrtle, ar as in liar, uer as in guerdon. 
Smart says, " Even in the refined classes of society 
in England, sur, durt, bu/rd, etc., are the current pro- 
nunciation of sir, dirt, bird] and indeed, in all very 
common words it would be somewhat affected to in- 
sist on the delicate shade of difference." See Web- 
ster's Dictionary, Principles of Pronunciation. 



LESSON X7. 

VOWEL AND CONSONANT SOUNDS. 

The article a is always given its long sound when 
emphatic. When unemphatic it becomes obscure, ap- 
proaching the short vowel u. 

The article the, when emphatic, is pronounced with 
e long. When unemphatic before a vowel, the e has 
the sound of short z, and before a consonant th only is 
sounded. 



36 THE SCIENCE OF UTTERANCE. 

The sound of s, when followed by long a, or the 
pronoun you, is often incorrectly changed to sh. 

Examples. — We shall miss you. He will pass 
Utica. 

ASPIRATE SOUNDS IN PLURALS. 

The aspirate sound of th should be preserved in 
the plurals, as truths, youths, breaths, withes. The vocal 
sound th in the plurals, as baths, laths, paths, moths, 
oaths, mouths, wreaths. 

In the adjective forms, as blithe, lithe, it is vocal ; 
also, in the verb forms, bathe, clothe, sheathe, wreathe, etc. 

ACCENT. 

Accent distinguishes one syllable from another by 
a greater distinctness and loudness of pronunciation. 
In quite a large number of words there is a diversity 
of practice among good speakers as to the place of 
primary accent. Ease of utterance has some influ- 
ence in deciding the syllable. In poetry, words are 
frequently used with an accentuation different from 
that adopted in ordinary speech. 

The sound of short ii being the easiest of utterance, 
is often called the natural vowel. This sound is fre- 
quently used by careless speakers thus: putdtuh for 
potato, enumy for enemy, winduh for window, will 
yUh for will you, charuty for charity, etc. 

The following general principles indicate the 
tendencies of unaccented vowels. 

Long a and long e tend toward short !. 

Examples. — Sunday, village, before, society, etc. 



THii SCIENCE OF UTTERANCE. 37 

Italian a, intermediate a, long and short o tend 
toward short a. 

Examples. — Dollar, compass, particular, tobacco, 
potato, labor, orator. 

EXERCISES IN PRONUNCIATION. 

" An Indian, attracted by the aroma of the cof- 
fee and the broth arising from the bivouac, and mo- 
ving down the path, met a bombastic brave who was 
troubled with bronchitis. The Indian, being in dis- 
habille, was treated with disdain by this blackguard, 
who called him a dog and bade him with much ve- 
hemence and contumely to leave his domain, or he 
would demonstrate with his carbine the use of a cof- 
fin and a cemetery. The Indian calmly surveyed 
the dimensions of his European antagonist and op- 
ponent, and, being sagacious and robust, and having 
all the combativeness of a combatant, shot this ruffian 
in the abdomen with an arrow. 

*^ A young patriot with a black mustache, coming 
from the museum, laughingly said, * Bravo; you 
should be nationally rewarded by receiving the right 
of franchise ; for I witnessed the altercation, and the 
evidence is irrefragable and indisputable that you 
have removed a nauseous reptile.' " 

Roland sent Diana a ring set with onyx, a chalce- 
donic variety of stone, and hung a placard where he 
knew she would see it from her casement, but she 
steadfastly rejected his overtures, and ogled him as 
if he were a dromedary. 



38 THE SCIENCE OF UTTERANCE. 

LESSON XVI. 

VOCAL PRACTICE. 

Practice the exercise as in Figs. 2, 3, 4, expelling 
the breath, uttering the sound ZTo, in half whisper 
and half voice. Eepeat six times. 

Sound a twice in a whisper, and the third time in 
voice with one breath. 

whisper whisper voice 

ah ah ah 

Eepeat six times. 

Practice the exercise as in Figs. 2, 3, 4, convert* 
ing breath into sound, uttering the exclamation ha 
each time. Avoid the violence which irritates the 
throat; do not send out breath mixed with voice, as 
in half whisper. 

OROTUND VOICE 
Is the symmetrical enlargement of pure voice, and 
is produced by a corresponding expansion of all the 
vocal organs. It is the grandest quality of the speak- 
ing voice. It is a full, clear, strong, smooth and ring- 
ing sound, rarely heard in ordinary speech except 
by careful cultivation. Dr. Eush describes the fine 
qualities of voice constituting the orotund in the 
following words : — 

It is used to express whatever is grand, vast, or 
sublime. 

By a fullness of voice is meant that grave or hol- 
low volume which approaches to hoarseness. 

By a freedom from nasal murmur and aspiration. 

By a satisfactory loudness and audibility. 

By a smoothness or freedom from all reedy or 
guttural harshness. 



THE SCIENCE OF UTTERANCE. 39 

Persons possessing the orotund voice appear to 
be laboring under a slight degree of hoarseness. It is 
more musical and flexible than the common voice, 
and depends on cultivation and management. More 
depends on cultivation than natural peculiarity. 

RULES TO BE OBSERVED IN THE OROTUND VOICE. 

1. Take a deep breath, contracting the muscles of 
the abdomen. 

2. Let the pharynx or back part of the mouth be 
well expanded. 

3. The tongue depressed. 

4. The uvula raised. ^ 

5. The larynx depressed. 

6. The breath or voice directed in a vertical stream, 
with great boldness and firmness. 

EXAMPLES. 

1. It took Eome three hundred years to die; and 
our death, if we perish, will be as much more terrific 
as our intelligence and free institutions have given 
to us more bone and sinew and vitality. May God 
hide me from the day when the dying agonies of my 
country shall begin! O, thou beloved land, bound 
together by the ties of brotherhood and common 
interest and perils, live forever — one and undivided. 

2. O thou that roUest round as the shield of my 
fathers! Whence are thy beams, O sun! thy ever- 
lasting light ? 

3. Thy right hand, Lord, is become glorious in 
power: thy right hand, Lord, hath dashed in 
pieces the enemy, and in the greatness of thine ex- 
cellency thou hast overthrown them that rose up 



40 THE SCIENCE OF UTTERANCE. 

against thee : thou sendest forth thy wrath, which 
consumed them as stubble, and with the blast of thy 
nostrils the waters were gathered together: the 
floods stood upright as an heap, and the depths 
were congealed in the heart of the sea. 



LESSON XVII. 

QUALITY OF PURE AND OROTUND VOICE. 
Quality of voice depends on pitchy force^ stress and 

movement, 

PITCH. 

Pitch signifies the place in the musical scale on 
which the element, syllable, or word is sounded, or 
the key-note of the voice in reading or speaking. 

The speaking voice in good utterance, seldom 
rises higher than a sixth above the lowest note of its 
compass. 

Pitch is produced by the elevation or depression 
of the larnyx, and by the increased or diminished 
size or capacity of the throat. Low or grave sounds 
appear to come from the chest, caused by the depres- 
sion of the larynx, and high or acute tones from 
the head, caused by the elevation of the larynx. 

Pitch is either very low, low, middle, high, or 
very high. 

Low pitch is adapted to solemn, sublime, and 
grand passages. 

Middle pitch is adapted to ordinary, unimpas- 
sioned conversation. 

High pitch is adapted to gay and joyous emo- 
tions, also for triumph and exultation, or for the ex- 
tremes of grief and alarm. 



THE SCIENCE OF UTTERANCE. 



41 



GAMUT FOR VARYING THE PITCH OF THE SPEAKING 

VOICE. 
Arranged by Lewis. 



10th. 


E— fTii. 


John, get up, you lazy boy. 


Falsetto. 


9th or 2d, 
full tone. 


B—re. 


In the lost battle borne down by the 

flying. 
Where mingles war's rattles with 

groans of the dying. 


High waHing 
tone like a 
chant. 


8th(oct've). 
fnll tone. 


C— DO. 


Up, comrades I up! in Rokeby's 

halls 
Ne'er be it said our courage falls ! 


Very high, for 
joy or alarm. 


7th pitch, 
semitone. 


B— si. 


Oh mercy ! dispel 
Yon sight, that it freezes my soirit 
to tell. 


High, for pa- 
thos. 


6th pitch, 
full tone. 


A-^a. 


To arms I to armsl to armsl they 
cry, 
Grasp the shield, and draw the 

sword ; 
Lead us to Philippi's lord, 
Let us conquer him, or die. 


High tone. 


5th pitch, 
full tone. 


Q-^ol 


Come one— Come all! This rock 

shall fly 
From its firm base as soon as I. 


Bold and doml' 
nant tone. 


4th pitch, 
fnll tone. 


-F-fa. 


Oh. how wretched 
Is that poor man that hangs on 
princes' favors. 


Grave tone. 


3d pitch, 
semitone. 


E— mi. 


'Tis the eternal law that where 

guilt is. 
Sorrow shall answer it. 


Pathos and so- 
lemnity. 


2d pitch, 
full tone. 


D— rfi. 


Oh look, my son. upon yon sign 
Of the Redeemer's grace Divine. 


Reverential so- 
lemnity. 


ist pitch, 
full tone. 


C— DO. 


If this same were a churchyard 
where we stand. 

And thou possessed with a thous- 
and wrongs. 


Deepest tone of 
awe. 



42 THE SCIENCE OF UTTERANCE. 

FORCE. 

Force relates to the loudness of the sound; the 
degrees of which may be described as subdued, 
moderate, energetic and vehement. 

Note. — An improper and unscientific exercise 
of force often marks the delivery of public speakers, 
and has a tendency, more than any other cause, to 
injure the vocal organs, and often to ruin them for 
life ; but proper discipline and culture develop their 
power, and improve the general health. 



LESSO:CT XVIIL 

STRESS. 

Stress relates to the application of force to the 
different parts of the word or sound. 
Stress has three leading forms, viz. : — 

1. Eadical. 

2. Median. 

3. Vanishing. 

RADICAL STRESS. 

Eadical stress is the application of force to the 
first part of the vocal sound. It is sudden and quick. 
" The breath is held for a moment and then sent out 
suddenly with a clear, distinct, and cutting force." 

It is used to express intense feeling and emotion. 

"It is this which draws the cutting edge of 
words across the ear, and startles even stupor into 
attention ; this which lessens the fatigue of listening 
and outvoices the stir and rustle of an assembly." 
— Bt. Rush. 



THE SCIENCE OF UTTERANCE. 43 

"The utter absence of radical stress bespeaks 
timidity and indecision, confusion of thought, and 
feebleness of purpose. The right degree of this 
function indicates the manly, self-possessed speaker.'* 
— Murdoch and liicsselL 

Sound each vocal quick and loud six times : — 

a> o>- a>> 00 > S^ 

Give the following examples, with proper spirit. 
Bring out the emphatic words with intense force ; 
keep the voice within range, not too high. 

EXAMPLES. 

1. Bise ! father, rise ! 'tis Rome demands your help I 

2. Out with you! — and he went out. 

3. Hold! hold for your lives! 

4. Forward the Light 'Brigade! 

5. To arms! to arms! to arms! they cry, 

6. Down^ soothless insulter ! 

7. Go from my sight ! I hate and I despise thee I 

8. Rouse ye Eomans ! rouse ye slaves! 

9. He dares not touch a hair of Cataline I 

10. The/oe, they come! they come! 

11. Hence! home! ye idle creatures ! get you home! 

12. You blocks! you stones! you worse than sense- 
less things ! 

13. Fret! 'till your proud heart hreahs! 

14. If it will feed nothing e&e, it will feed my re- 
venge ! 

15. Baclc to thy punishment, false fugitive I 

16. Lord Angus, thou hast lied! 



44 THE SCIENCE OF UTTERANCE. 

LESSON XIX. 

MEDIAN STRESS. 

Median stress is the application of force to the 
middle of the vocal sound. 

Commence the sound in a very subdued tone; 
gradually increase until the sound is full and deep, 
then gradually diminish in force to the close. 

It is used to express pathos, solemnity, reverence, 
sublimity, devotion, and grandeur. It should be 
applied in different degrees, according to the sen- 
timent. 

MediaQ stress is one of the greatest beauties in 
reading, — although carried to excess, it becomes a 
fault, — and should be judiciously used. 

EXAMPLES. 

1. a O O a <> 00 O e O 

2. Woe unto thee, Chorazin. Woe unto thee, Beth- 
fiaida. 

3. Then age and want, oh ill matched pair. 

Show man was made to mourn. 

4. Eoll on, thou deep and dark blue ocean, roll. 

5. Blow, bugle, blow; set the wild eohoes flying. 

6. Oh the wild charge they made. 

VANISHING STRESS. 

Vanishing stress is the application of the voice to 
the last part of the vocal sound. It commences 
with a light and gentle sound, which gradually in- 
creases in volume, and suddenly terminates with a 
heavy and violent sound. It is one of the best exer- 



THE SCIENCE OP UTTERANCE. 45 

cises for strengthening the voice. It is used to ex- 
press determined purpose, earnest resolve, stern re- 
buke, astonishment, contempt, horror, revenge, and 
hate. 

EXAMPLES. 

1. a<[ o<; a<; 00 < e<^ 

2. I wovbt! I sharht! 

3. Thou slave! thou vyretch! thou coward I 

4. Thou little valiant, great in viUainy! 

5. Thou ever strong upon the strongest side ; 

6. ^\iOM fortune' s champion I 

7. I an itGhmg palm? 

8. Tou know that you are Brutus that speaks this. 

9. Or by the gods this speech were else your last 1 

10. I tell thee, thou art defied! 

11. Hence! horrible shadow, hence I 

12. I say you are not! 

13. I hate him. 



LESSOK XX. 

DERIVATIVE FORMS OF STRESS. 

1. Thorough stress. 

2. Compound stress. 

3. Intermittent stress. 

THOROUGH STRESS. 
Thorough stress is the application of the force of 
the voice to the whole extent of the vowel sound. 
It is used in expressing joy, exultation, lofty com- 
mand, indignation, and bravado. 



46 THE SCIENCE OF UTTERANCE. 

EXAMPLES. 

1. a 3ZI ^ ZZ ^ ZZ ^^ ZZ ^ ZZ 

2. i^ire/ i^^Ve/ Fire! 

3. Hurrah ! hurrah for Sheridan 1 
Hurrah ! hurrah for horse and man I 

4. Princes! potentates! warriors I 
The flowers of heaven 
Once yours, now lost ; 

Awalce! arise! or be forever fallen ! 

5. Eejoice, ye men of Algiers, ring your bells! 
King John, your king and England's, doth ap- 
pear, 

Open your gates and give the victor way I 

(This is a vigorous shouting exercise. The chest 
must be expanded to its greatest capacity, the mouth 
well opened, using the utmost force without violence. 
It is invigorating and agreeable, and will give 
strength to the lungs and volume to the voice.) 



LESSON XXI. 

COMPOUND STRESS. 

Compound stress is the application of the force to 
the first and last parts of the sound. It is the union 
of the radical and vanishing stress on the same 
sound, and is used to express surprise, contempt and 
mockery, or sarcasm. 

EXAMPLES. 

1. a >< o >< a >< 00 >< 6 >< 

2. Gone to be married! Gone to swear a peace ! 
It is not so ; thou hast mis-spoke, mis-heard; 



THE SCIENCE OF UTTERANCE. 47 

Be well advised ; tell o'er thy tale again, 
It cannot he; thou dost but say 'tis so. 

3. Banished from Rome, 

4. Smile on, my lords: 

/ scorn to count what feelings, withered hopes^ 
Strong provocations, bitter, burning wrongs, 
I have within my heart's hot cells shut up 
To leave you in your lazy dignities; 
But here I stand and scoff you ; here I fling 
Hatred and full defiance in your face. 

INTER]VnTTENT STRESS. 

Intermittent stress is a tremulous effort of the 
voice ; the force is broken, it is used to express feeble 
and broken utterance of age, sickness, and grief. 

EXAMPLES. 

1. a-^--^^^^^ o^ — ^-^-^ a -' -"-'--^ 00'-'--^-^ Q^^^^^, 

2. Pity the sorrows of a poor old man. 

Whose trembling limbs have borne him to your door. 

3. Hes sinking! he^s sinking! 

Oh, what shall I do? 



LESSOX XXII. 

MOVEMENT. 

Movement of voice is the rate at which we speak. 

Words are uttered slowly, moderately, and rap- 
idly, according to the nature of the sentiment to be 
-expressed. 

Slow movement is used to express reverence, sub- 
iimity, amazement, awe and horror. 



48 THE SCIENCE OF UTTERANCE. 

Moderate movement is used in narrative, essays, 
and newspaper articles. 

Eapid movement is used to express joy, anger, or 
excitement. 

^^Appropriate utterance accommodates the move- 
ment of voice to every mood of thought, from the 
slowest prolonged and lingering utterance of deep 
contemplation and profound awe, to the swift and 
rapid strains of lyric rapture and ecstasy. Utter- 
ance to be natural and effective must have the gen- 
uine expression of its appropriate movement. So- 
lemnity cannot exist to the ear without slowness — 
gayety without briskness of utterance, gravity with- 
out sedate style, nor imagination without a lively 
movement.'* 

The three principal faults in movement are, uni-^ 
form slowness or drawling, uniform rapidity, or uni- 
form moderate movement. 

"Perfect command of every degree of move- 
ment is indispensable to the appropriate expression 
of the different forms of thought and emotion." 

QUANTITY. 

Quantity is time upon words. It is prolonged 
or shortened according to the nature of the meaning^ 
of the word. The word long should receive more 
time than shorty though the latter contains more 
letters. 

Words of dignity require long quantity. 

Words of impatience or sudden action require^ 
short quantity. 



THE SCIENCE OF UTTERANCE. 49 

LESSON XXIII. 

INFLECTIONS. 

Inflections are slides of the voice used in reading 
or speaking, to give better expression ; also to give 
emphasis. 

Inflections are rising and falling : both are united 
in the drcumjiex. 

RISING INFLECTION. 

Eising inflection denotes uncertainty, interroga- 
tion, and incompleteness of idea. 

EXAMPLES. 

1. Are you going home? 

2. Shall I know your answer? 

3. Hast thou ever known the feeling I have felt, 

when I have seen. 
Mid the tombs of aged heroes, 
Memories of what hath been — 
What it is to view the present 
In the light of by-gone days; 
From an eminence to ponder 
Human histories and ways? 

4. Was it the chime of a tiny bell. 

That came so sweet to my dreaming ear, 
Like the silvery tones of a fairy^s shell, 

That he winds on the beach so mellow and 
clear, 
When the winds and the waves lie together 



And the moon and the fairy are watching the 
deep, 



60 THE SCIENCE OF UTTERANCE. 

She dispensing her silvery light, 
And he his notes so silvery quite, 

While the boatman listens and ships his oar. 
To catch the music that comes from the 
shore? 

FALLING INFLECTION. 

Falling inflection denotes positiveness, confidence, 
and determination or completion of idea. 

EXAMPLES. 

1. A wise son maketh a glad father, but a foolish 
son is the heaviness of his mother. 

2. Shakspeare was the greatest tragic writer, 

3. The war is ended. 

4. It is my living sentiment, and, by the blessing 
of God, it shall be my dying sentiment, independ- 
ence now, and independence forever. 

5. Art is never art till it is more than art. The 
finite exists only as to the body of the infinite. 
The man of genius must first know the infinite, 
unless he wishes to become, not a poet, but a maker 
of idols. 

EXAMPLES IN RISING AND FALLING INFLECTION. 

Touch, — How old are you? 
WilL — Five and twenty, sir. 
Touch. — ^A ripe age. Is thy name William? 
Wilh — William, sir. 

Touch, — ^A fair name. Wast born i' the forest, 
here? 

Will, — Ay, sir, I thank God. 

Touch, — Thank God? a good answer. Art rich? 



THE SCIENCE OF UTTERANCE. 51 

Will. — Faith, sir, so-so. 

Touch, — So-so is good, very good; — ^very excellent 
good: and yet, it is not; it is but so-so. 

dRCUMFLEX. 

The circumflex is a combination of the rising and 
falling inflection on the same syllable or word. 

The falling circumflex terminates on the down- 
ward slide. 

The rising circumflex terminates on the upward 
slide. 

The circumflex inflections express irony, sarcasm, 
doubt, mockery, reproach, and wonder. 

EXAMPLES. 

1. It is vastly easier for you, Mistress Dial, who 
have always, as everybody knows, set yourself up 
above me — ^it is vastly easier for you, I say, to ac 
cuse other people of laziness. 

2. My father's trade! now really that's too bad. 
My father's trade! why, blockhead, are you mad? 
My father, sir, did never stoop so low — 

He was a gentleman, I'd have you know. 

3. The common error is, to resolve to act right 
after breakfast, or after dinner, or to-morrow mom- 
ing, or next time, but now, just now, this once, we 
must go on the same as ever. 

4. Is'ow, in building of chaises, I tell you what, 
There is always somewhere a weakest spot ; 
And that's the reason, beyond a doubt, 

A chaise breaks down, but doesn't wear out. 



53 THE SCIENCE OF UTTERANCE. 

LESSON XXIV. 

PAUSES. 

There are two kinds of pauses in reading, — Gram- 
matical and Rhetorical, 

The grammatical pause is indicated by the marks 
of punctuation, as follows: The comma (,), semi- 
colon (;), colon (:), and period (.); also interrogation 
(?), exclamation (!), dash ( — ), parenthesis (), and 
quotation marks (" "). These are pauses which di- 
vide composition into sentences, and sentences into 
sections. 

These pauses are of great importance, as a disre- 
gard of them' in reading will very frequently de- 
stroy the sense completely or change the meaning 
from what it should be. 

Rhetorical pause depends on the construction of 
the sentence, and is one of the chief means of dis- 
tinctness in the expression of thought. It consists 
in suspending the voice before or after the utterance 
of an important thought. The pause before the privr 
cipal word excites curiosity and expectation ; the 
pause a/ier the principal word carries the mind back 
to what has been said. " It should not be repeated 
too frequently; for as it excites strong emotions, and 
of course raises expectations ; if the importance of the 
matter be not fully answerable to such expectations 
it occasions disappointment and disgust." Sense and 
sentiment are the best guides in the use of the pause, 

PARENTHESIS. 

A sentence or certain words inserted in a sen- 
tence, which interrupts the sense or natural connec 



THE SCIENCE OF UTTERANCE. 53 

tion of words, but serves to explain or qualify the 
sense of the principal sentence. 

Parenthesis should be read more rapidly and in a 
more subdued tone, making a short pause before 
commencing, and resuming the former pitch and 
tone at the principal sentence. 

EXAMPLES. 

1. Know then this truth, (enough for man to 

know,) 
Virtue alone is happiness below. 

2. Oh, woman ! though only a part of man's rib, 
(If the story in Genesis don't tell a fib,) 
Should your naughty companion e'er quarre^ 

with you 
You are certain to prove the best man of the 
two. 

3. I have seen charity (if charity it may be 
called,) insult with an air of pity. 

4. Know ye not, brethren (for I speak unto them 
that know the law), that the law hath dominion over 
a man as long as he liveth ? 

5. I am happy, said he (expressing himself with 
the warmest emotion), infinitely happy in seeing you 
return. 



LESSON XXY. 

EMPHASIS. 

Emphasis gives prominence to certain words and 
phrases, and may be expressed by an increase of force 
or stress. 

" Emphasis is in speech, what coloring is in paint- 



54 THE SCIENCE OF UTTERANCE. 

ing. It admits of all degrees, and must, to indicate 
a particular degree of distinction, be more or less 
intense, according to the ground word or current 
melody of the discourse/* 

^^ lS[o certain rules can be given to guide the stu- 
dent in the employment of emphasis. If the voice 
be clear, fuU, flexible, and under the control of the 
will, he will be able to express what he fuUy under- 
stands and strongly feels in an effective manner, 
without the aid of rules. The best advice to the 
student upon this point is to study his subject until 
he thoroughly understands it, and then practice upon 
until he can express it to his own satisfaction." 

EXAMPLES. 

"In Homer, we discern all Greek vivacity; in Virgil 
all the Eoman stateliness. Homer's imagination is by 
much the more rich and copious] Virgil's the more 
chaste and correct. The strength of the former lies in 
his power of warming the fancy; that of the latter in 
his power of touching the heart. Homer's style is 
more simple and animated ; Virgil's more elegant and 
uniform. Thejirst has on many occasions a sublimity 
to which the latter never attains; but the latter in re- 
turn never sinks below a certain degree of epic dignity 
which cannot so clearly be pronounced of the former.'* 

CADENCE. 

*- 

Cadence is the natural termination of the voice at 
the close of a sentence or phrase. It may have the 
descending or ascending slide, or it may close with 
no slide whatever. 

A sentence expressing a complete thought, and 



THE SCIENCE OF UTTERANCE. 55 

which is not affected by another phrase or clause pre- 
ceding or following it, should always terminate with 
a downward slide ; but for modified sentences no in- 
variable rule can be given ; we must be guided by 
the ideas to be expressed. 

Expression in reading depends greatly on Cadence. 

EXAMPLES. 

1. 

1, 2, 3, 4, 5,. a, e, i, o, 



2. 

Smith, Chambers, Butterfield, Morgan, Brown, 
Page, Jones, A 

3. 
Speak the speech, I pray you, as I pronounced it to 
you — trippingly on the tongue ; but if you mouth it, 
as many of our players do, I had as lief the town crier 
spake my lines. 

4. 

For weeks the clouds had raked the hills. 
5. 

The war must go on. We must fight it through. 
And if the war must go on, why put off longer the 
Declaration of Independence ? 

6. 

It is impossible to indulge in such habitual severity 
of opinion upon our fellow men without injuring the 
tenderness and delicacy of our own feelings. 

7. 



56 THE SCIENCE OF UTTERANCE. 

LESSON XXVI. 

IMPURE TONES, 
impure tones are aspirate, guttural and falsetto. 

ASPIRATE. 
Aspirate is the intense whisper with little or no 
vocality. It is used to express fear, secrecy, horror 
and aversion. 

EXAMPLES. 

1. Hark! what was that? Hark! hark! to the 
shout. 

2. Hark ! I hear the bugles of the enemy ! They 
are on the march along the bank of the river! We 
must retreat instantly or be cut off from our boats! 
I see the head of their column already rising over 
the height! Our only safety is in the screen of the 
hedge. Keep close to it — be silent — and stoop as 
you run! For the boats! Forward. 

3. Soldiers! You are now within a few steps of the 
enemy's outposts! Our scouts report them as slum- 
bering in parties around their watch-fires, and ut- 
terly unprepared for our approach. A swift and 
noiseless advance around that projecting rock, and 
we are upon them, — we capture them without the 
possibility of resistance! One disorderly noise or 
motion may leave us at the mercy of their advanced 
guard. Let every man keep the strictest silence un- 
der pain of instant death. 

GUTTURAL. 
Gruttural is a harsh throat tone. The sound is sent 
forth in a rough, discordant tone. It expresses hat- 
red, intense anger, loathing and contempt. 



THE SCIENCE OP UTTERANCE. 57 

The prominent characteristic of this tone is its 
narsh, discordant quality, produced by the compressed 
and partial closing of the throat above the glottis. It 
denotes all those states of mind classed under disKke 
and ill-humor. When carefully controlled, it is an 
element of great power, but the greatest care should 
be taken to use it in the right sentiment. 

EXAMPLES. 

1. I loathe ye in my bosom, 

I scorn ye with my eye, 
And I'll taunt ye with my latest breath, 
And fight ye till I die. 

2. Avaunt! and quit my sight. Let the earth 

hide thee. 
Thy bones are marrowless, thy blood is cold, 
Thou hast no speculation in those eyes, 
Which thou dost glare with, 

3. Hence horrible shadow, 
Unreal mockery, hence ! 

4. I'll have my bond ; I will not hear thee speak. 
rU have my bond ; and therefore speak no more. 
I'll not be made a soft and dull-eyed fool. 

To shake the head, relent, and sigh; and yield 

To Christian intercessors. Follow not; 

I'll have no more speaking, / wiU have my bond, 

FALSETTO. 

Falsetto voice is generally produced above the 
natural tone, and is used in imitation of high female 
voices, in the voices of children, and in afi'ectation, 
«tc. 



58 THE SCIENCE OP UTTERANCE. 

EXAMPLES. 

1. "Now, Socrates, dearest," Xantippe replied, 
I hate to hear every thing vulgarly my'd. 
Now whenever you speak of your chattels 

again, 
Say <ywr cow-house, ov/r barn-yard, owr pig-pen." 

2. Oh ! what shall I do when the night comes aown 
In its terrible blackness all over the town ? 
Shall I lay me down 'neath the angry sky, 
On the cold hard pavement, alone to die ? 

3. Will the JSTew Year come to-night, mamma, I'm 

tired of waiting, so. 
My stocking hung by the chimney side, full 

three long days ago. 
I run to peep within the door by morning's early 

light, 
'Tis empty still — Oh, say, mamma, will the New 

Tear come to-night. 

4. "Yes, it is worth talking of! But that's how 
you always try to put me down. You fly into a rage, 
and then, if I only try to speak, you won't hear me. 
That's how you men always will have all the talk to- 
yourselves! A poor woman isn't allowed to get a 
word in." 

LESSON XYII. 

POSITION. 

The position in speaking or reading should be* 
natural, easy and graceful. 

The book should be held in the left hand. The- 



THE SCIENCE OF UTTERANCE. 59 

eyes should not be fixed on the book, but as the 
reader takes in as many words as he can remember 
at a glance, he should look and read to the audience 
or teacher. 

COUNTENANCE. 

K the speaker or reader has an intelligent knowl- 
edge of his subject, his countenance will assume the 
proper expression. 

GESTURE. 

The arm should be free and unconstrained in ges- 
tures, the movement should be from the shoulder 
rather than the elbow. Elbow slightly curved. 

The hands in gesture should be used easily and 
gracefully. 

The hands may be supine^ prone, vertical, pointing^ 
and clenched. 

The supine hand lies open with the palm upward. 

The prone hand is opened with the palm down- 
ward. 

The vertical hand is opened with the palm out- 
ward from the speaker. 

ThQ pointing hand^ forefinger extended, is used in 
designating or pointing out a particular object. 

The clenched hand denotes intense action of the 
will or passions. 

Hand and arm gestti/res are made in four general 
direction s—^/ron^, oblique^ lateral, diRdi backward. Each 
is divided into horizontal^ descetiding and ascending. 

Front gestures are used to illustrate that which is 
near to us. 

'Oblique gestures are more general in their apj)lica- 
tion, relating to things indefinitely. 



60 THE SCIENCE OP UTTERANCE. 

Lateral gestures denote expansion, extreme dis- 
tance, etc. 

Backward gestures denote things remote, obscure, 
or hidden. 

Horizontal gestures are used in general allusions, 
indicating equality. 

Descending gestures denote inferiority or inequal- 
ity, also expresses determination and purpose. 

Ascending gestures denote superiority, greatness, 
and lofty ideas. 

LESSON XXVIII. 

EXAMPLES FOE EXERCISE IN CONVERSATIONAL 

TONES. 

See page 73, No. 10. 

[Note. — These exercises should be given with the 
natural tone and expression of the reader.] 

1. 
There is nothing like fun, is there ? I have none 
myself, but I do like it in others. We need all the 
counterweights w^e can muster to balance the sad 
relations of life. 

2. 

People talk of liberty as if it meant the liberty 
of doing what a man likes. The only liberty that a 
man worthy the name of a man ought to ask for, is 
to have all restrictions, inward and outward, that 
prevents his doing what is right, removed. 

3. 
Do not, like a lecturer or dramatic star, try over 
hard to roll the British R ; Do put your accents in 
the proper spot ; Do not let me beg you — Do not say 
^' How? "for "What?" 



THE SCIENCE OF UTTERANCE. 61 

4. 

I dislike a fellow whom pride, or cowardice, or 
laziness drives into a corner, and who does nothing 
when he is there but sit and growl. Let him come 
out as I do, and bark. 

5. 

When speaking in a large hall, or addressing per- 
sons at a distance, a greater power of voice is required. 
The tone of ordinary conversation lacks the requisite 
strength and dignity. 

6. 
A clergyman and Garrick, the tragedian, were 
spending an evening together. In the course of their 
conversation the clergyman asked Garrick, " Why are 
you able to produce so much more effect, with the 
recital of fiction, than we can by the delivery of the 
most important truths ? " Garrick replied, " My Lord, 
you speak truths as if they were fictions ; we speak 
fictions as if they were truths." 

1 
" I can say that I have seen Michael Angelo when 
he was sixty years of age, and not then very robust, 
make the fragments of marble fly about at such a 
rate that he cut off more in a quarter of an hour than 
three strong young men could have done in an hour, a 
thing almost incredible to any one who has not seen it ; 
and he used to work with such fury, and with such an 
impetus, that it was feared he would dash the ' whole 
marble to pieces, making at each stroke chips of three 
or four fingers thick fly off into the air ; ' and that 
with a material in which, if he had gone only a hair's 



62 THE SCIENCE OF UTTERANCE. 

breadth too far, he would totally have destroyed the 
work, which could not be restored like plaster or 
clay." 

8. 

" Shakespeare imputes to the cricket the sense of 
hearing : ' I will tell it softly ; young crickets shall 
not hear me.' This was long considered a scientific 
blunder on the part of the poet, the most eminent 
naturalists having maintained that insects in general 
have no sense of hearing. Brunelli, an Italian natur- 
alist, however, has demonstrated that the cricket, at 
least, has that sense. Several of these insects, which 
he shut up in a chamber, continued their usual crink- 
ing or chirping the whole day, except at moments 
when he alarmed them by suddenly knocking at the 
the door. The noise always produced a temporary 
silence on their part. He contrived to imitate their 
sounds so well that the whole party responded in a 
chorus, but were instantly silenced on his knocking 

at the door." 

9. 

" Young Peter Pyramus — I call him Peter, 
Not for the sake of the rhyme or the meter, 
But merely to make the name completer — 
For Peter lived in the olden times. 
And in one of the worst of pagan climes 
That flourish now in classical fame." 

10. 
^' Now Peter loved a beautiful girl 
As ever ensnared the heart of an earl 
In the magical trap of an auburn curl — 
A little Miss Thisbe, who lived next door, 



THE SCIENCE OF UTTERANCE. 63 

" (They lived, in fact, on the very same floor, 
With a wall between them and nothing more — 
Those double dwellings were common of yore), 
And they loved each other, the legends say, 
In that very beautiful, bountiful way. 
That every young maid and every young blade 
Are wont to do before they grow staid. 
And learn to love by the laws of trade." 

11. 

There is not a shout sent up by an insane mob on 
this side the Atlantic, but it is echoed by a thousand 
presses, and by ten thousand tongues, along every 
mountain and valley on the other. 

12. 

Now, there are different ways of feeling and 
thinking, and so there are different tones of voice 
for expressing feelings and tl^oughts. When a boy 
is angry, his voice sounds very differently from what 
it does when he is speaking kindly to his little 
brother or sister. And when a little girl receives 
a beautiful doll for a Christmas present, and tells 
about it, she speaks very differently from what she 
does when the doll falls into the fire and is burned. 
You see, then, that different feelings require different 
tones of voice. 

13. 

I should like to know how the children are to 
go to school tomorrow. They shan't go through 
such weather, I am determined. No ; they shall stop 



64 THE SCIENCE OF UTTEEANCE. 

at home and never learn anything, sooner than go 
and get wet ! And when they grow up, I wonder 
who they'll have to thank for knowing nothing ? 
Who, indeed, but their father. People who can't 
feel for their own children, ought never to be fathers. 



LESSON XXIX. 

EXPRESSION. 

Eocpression is the art of adapting the voice, cotm- 
tenance, and gestures to the nature of the sentiment. 

^^ As it is impossible to print a tear, a groan, a 
sneer, a laugh, or a look, so it is impossible to express 
all the meaning of an author unless, in the spirit of 
the sentiment, and from long practice, one is able to 
express that sentiment. The mere repetition of the 
words of Shakspeare would give little idea of the full 
meaning and power of those words. In this view, 
manner is quite as important as matter^ for without it 
the choicest ideas, as represented by words, are life- 
less.'* Hence, expression in utterance is the appro- 
priate and harmonious application of all the princi- 
ples of voice culture. 

Quality, Pitch, Force, Stress, Movement, Empha- 
sis, Inflection, Pause, and Personation, are essential 
requirements to give expression and educate the 
taste and judgment. 

Special attention should be given to the change 
of voice in Personation, as it is of the greatest im- 
portance in public reading and declamation. 

The best guide for expression is to realize and 



THE SCIENCE OF UTTERANCE. 65 

understand the passage to be read, and then give the 
appropriate tones, which will require an intelligent 
analysis of the subject. 

We may, by the use of Pitch, Force, Stress, 
Movement, Emphasis, Inflection, Pause, and Persona- 
tion, give different meaning to our words or sentences, 
according to the application. 

Eead the sentence, " Many men are misled by 
fame," without emphasis, middle pitch. Emphasize 
one of the words and the sense wiU be different, as 
follows: — 

1. Many men are misled by fame. 

2. Many men are misled by fame. 

3. Many men are misled by fame. 

4. Many men are misled hjfame, 

5. Many men are misled by fame. (Loud.) 

6. Many men are misled by fame. (Whisper.) 

" A good reader or speaker ought not only to be 
able to sound every word correctly ^ but should know 
always the exact meaning of what he reads, and feel 
the sentiment he utters, and also to know how to 
give the intended meaning and emotion when he 
knows them." 

LESSON XXX. 

TRANSITION. 

Transition in utterance is the power of giving 
proper variety to reading. Without it, reading is mo- 
notonous. There must be harmony between the 
voice and the sentiment. If the subject of descrip- 

5 



66 



THE SCIENCE OF UTTERANCE. 



tion or the sentiment be one of calmness and gentle- 
ness, the voice must be soft and gentle. If it be 
noisy or contentious, it becomes high and powerful. 
"Transition also refers to the changes in style, as 
from persuasive to declamatory; also to the expres- 
sion of passion or emotion, as from grief to joy, fear 
to courage, hope to despair." 

EXAMPLES, ADAPTED FROM MONROE's MANUAL. 

1. 

Soft. Soft is the strain when zephyr gently blows, 

And the smooth stream in smoother numbers flows; 

Loud. But when loud surges lash the sounding shore, 

The hoarse, rough verse should like the torrent roar. 

2. 

Slow. When Ajax strives some rock's vast weight to throw, 
The line, too, labors : and the words move slow ; 

Quick. Not so, when swift Camilla scours the plain, 

Flies o'er the unbending corn, and skims along the iuain« 

3. 

Aspirated. Hush ! hark I did stealing steps go by t 

Came not faint whispers near ? 
Pure tone. No ! — The wild wind hath many a sigh 

Amid the foliage sere. 



Pure tone. A thousand hearts beat happily; and when 
Music arose with its voluptuous swell, 
Soft eyes looked love to eyes which spake again. 
And all went merry as a marriage-bell ; — 

Aspirated. But hush ! hark ! a deep sound strikes like a rising 
kneUI 

5. 

Orotund. Her giant form 

O'er wrathful surge, through blackening storm, 
Majestically calm, would go, 
'Mid the deep darkness, white as snow I 



THE SCIENCE OF UTTERANCE. 



67 



PuBB TONE. But gentler now the small waves glide 

Like playful lambs o'er a mountain side, 

Obotund. So stately her bearing, so proud her array, 
The main she will traverse forever and aye. 
Many ports will exult at the gleam of her mast ! 

Aspirated. Hush ! hush ! thou vain dreamer ! this hour ia her last. 

6. 
Gradually How soft the music of those village bells, 
SOFTER. Falling at intervals upon the ear 

In cadence sweet ! now dying all away, 
Gradually Now pealing loud again, and louder still, 
LOUDER. Clear and sonorous as the gale comes on. 

7. 
Middle pitch. From that chamber clothed in white, 

The bride came forth on her wedding night; 
Low PITCH. There, in the silent room below, 

The dead lay in his shroud of snow. 



Loud. Rise ! rise ! ye wild tempests, and cover his flight ! 

Subdued. 'Tis finished. Their thunders are hushed on the moors, 
Cnlloden is lost, and my country deplores. 



Loud. The double, doutle, double beat 
Of the thundering drum, 
Cries, Hark ! the foes come : 
Charge, charge ! 'tis too late to retreat 

Soft. The soft complaining flute, 
In dying notes discovers 
The woes of hapless lovers ; 
Whose dirge is whispered by the warbling lute. 

10. 
Loud. The combat deepens. On, ye brave, 
Who rush to glory, or the grave ! 
Wave, Munich ! all thy banners wave, 
And charge with all thy chivalry ! 



68 



x^E SCIENCE OF UTTERANCE. 



Soft. 



Loud. 



MODEKATB. 



Loud. 



Very loud. 



Quick AND 



VBRT LOUD. 



Aspirated. 



Ah ! few shall part where many meet I 
The snow shall be their winding-sheet, 
And every turf beneath their feet 
Shall be a soldier's sepulchre. 

11. 
Once more unto the breach, dear friends, once more, 
Or close the wall up with our English dead ! 
In peace, there's nothing so becomes a man, 
As modest stillness and humility; 
But when the blast of war blows in our ears, 
Then imitate the action of the tiger; 
Stiffen the sinews, summon up the blood, 
Disguise fair nature with hard-favored rage. 
On^ ON, you noblest English, 

Whose blood is fetched from fathers of war-proof I 
Fathers, that, like so many Alexanders, 
Have, in these parts, from morn till even fought, 
And sheathed their swords for lack of argument. 
I see you stand like greyhounds in the slips, 
Straining upon the start. The game 's afoot; 
Follow your spirits, and, upon this charge, 
CRT, — Heaven tor Harry I England 1 and St. 
George ! 

13. 



Hark ! below the gates unbarring ! 
Tramp of men and quick commands! 
Pure tone. "'Tis my lord come back from hunting." 
And the Duchess claps her hands. 

Soft. Slow and tired, came the hunters ; 

Stopped in darkness in the court. 
Loud. " Ho, this way, ye laggard hunters ! 

To the hall ! What sport, what sport? " 

Slow and Slow they entered with their Master; 

SOFT. In the hall they laid him down. 

Slightly On his coat were leaves and blood-stains, 

ASPIRATED. On his brow an angry frown. 



J 



THE SCIENCE OF UTTERANCE. 



69 



13. 

GRADUiXLT Ever, as they bore, more loud, 
LOUDER. And louder rang the pibroch proud. 

Gradually At first the sound, by distance tame, 
SOPTBB. Mellowed, along the> waters came ; 

And lingering long by cape and bay, 
\\'ailed every harsher note away ; 

Loud. When bursting bolder on the ear. 

The clan's shrill gathering they could hear, — 
Those thrilling sounds, that call the might 
Of old Clan-Alpine to the fight. 



14. 

Soft oro- Father of earth and heaven I I call thy name ! 
TUND. Round me the smoke and shout of battle roll; 

My eyes are dazzled by the rustling flame ;— 
Father, sustain an untried soldier's souL 
Or life, or death, whatever be the goal 
That crowns or closes round the struggling hoar, 

Thou knowest, if ever from my spirit stole 
One deeper prayer, 'twas that no cloud might lower 
On my young fame I — O hear ! God of eternal power. 

LoTTD ORO Now for the fight, — now for the cannon peal, — 
TUKD. Forward, — through blood and toil and cloud and 

fire! 
Glorious the shout, the shock, the crash of steel, 
The volley's roll, the rocket's blasting spire; 
They shake, — like broken waves their squares 
retire, — 
On them, hussars 1 — Now give them rein and heel ; 

Think of the orphaned child, the murdered sire : — 
Earth cries for blood,— in thunder on them wheel! 
This hour to Europe's fate shall set the triumph-seal ! 



4 

70 THE SCIENCE OF UTTERANCE. 



QUESTIONS FOU EXAMINATION. 



What does the science of utterance teach ? 

What are words? 

How are vocal sounds represented? 

How are vocal sounds produced? 

How many letters in the English language? 

How many sounds have each letter? 

How are the letters divided? 

How are the sounds divided? 

What are vowels? 

What are consonants? 

What are vocals ? 

What are sub-vocals? 

What are aspirates? 

How many sounds has a? e? i? o? n? 

What is a compound vocal sound? 

Name them, and give the sounds of each one. 

How many sub-vocal sounds? Name them. 

How many aspirate sounds? 

What combination of sounds has q? x? 

How many sounds has c? Name them. 

What constitutes the proper delivery of words? 

What is voice? 

What wiU produce a pure voice? 

How should the breath be inhaled? 

Explain the active chest. 

Explain the passive chest? 

Explain how voice is produced. 



THE SCIENCE OF UTTERANCE. 71 

Where is the glottis? 
Where is the larynx ? what is its use? 
What is the pharynx? 

Explain the position and use of the soft palate? 
What is pure tone? 
What is impure tone? 
Which quality of voice is more used? 
Which is the most open vocal sound? 
What action of the will places the vocal organs in 
position for pure tone? 

What is the diaphragm? 

What is articulation ? 

Explain the orotund voice? 

What are the rules to be observed? , 

What does pitch signify? 

What compass should the speaking voice have? 

How is pitch produced? 

What does force relate to? 

What are the degrees? 

What is stress ? 

How many forms has stress? 

What are they called? 

What is radical stress? 

What does it express? 

What is median stress? 

What does it express? 

What is vanishing stress? 

What does it express? 

What are the derivative forms of stress ? 

What is thorough stress? 

What is compound stress? 

What is intermittent stress? 

Explain the different movements of voice? 



72 THE SCIENCE OF UTTERANCE. 

Explain quantity? 

What are inflections? 

Explain the rising inflection? 

Explain the falling inflection ? 

Explain the circumflex inflection? 

What are pauses ? 

Explain the grammatical pause? 

Explain the rhetorical pause? 

Explain parenthesis? 

Explain emphasis? 

Explain cadence? 

What are impure tones? 

Explain the aspirate tone? 

Explain the guttural tone? 

Explain the falsetto tone? 

What should be observed in positiont 

Explain countenance in reading? 

Explain gesture? 

What is expression? 

What is transition? 




THE SCIENCE OF UTTERANCE. 73 



HOW TO CRITICIZE THE UTTERANCE OF 
A READER OR SPEAKER. 



1. Is the breath under perfect control? 

2. Is the voice clear, full, and resonant ? 

3. Is the articulation distinct and correct, with- 
out being too precise ? 

4. Is the mouth open enough to give full effect to 
the words, without mouthing ? 

5. Is the voice modulated correctly to suit the 
sentiment ? 

6. Is force used properly? 

7. Is the movement too fast or too slow, or two 
uniform ? 

8. Are inflections used properly? 

9. In narrative, are looks, tone, and manner as if 
relating the experience of the speaker? 

10. In description, does the reader or speaker pro- 
ceed as if he had seen, heard, felt or known that 
which he describes? 

11. Does the style appear affected? 

12. Are imitation and personation true to the 
character. 

13. Are the expression of the face, the position 
and gestures suited to the subject and the occasion. 



HAJVILBT'S INSTRUCTIONS. 

Speak the speech^ I pray you, as I pronovmced it to 
you, trippingly on the tongue ; but if you mouth it, as 
many of your players do, I had as lief the tovm crier 



74 THE SCIENCE OP UTTERANCE. 

spoke my lines. Nor do not saw the air too much 
with your hand, thus; but use all gently : for in the 
very torrent, tempest, and (as I may say) whirlwind 
of your passion, you must acquire and beget a tem- 
perance that may give it smoothness. Oh ! it offends 
me to the soul, to hear a robustious, periwig-pated 
fellow tear a passion to tatters, to very rags, to split 
the ears of the groundlings ; who for the most part, 
are capable of nothing but inexplicable dumb shows 
and noise. I would have a fellow whipped for o'er- 
doing Termagant; it out-herods Herod; pray you 
avoid it. 

Be not too tame neither, but let vour own discre- 
tion be your tutor : suit the action to the word, the 
word to the action, with this special observance, that 
you o'erstep not the modesty of nature ; for anything 
so overdone is from the purpose of playing, whose 
end, both at the first, and now, was, and is, to hold, 
as 'twere, the mirror up to nature ; to show virtue 
her own feature, scorn her own image, and the very 
age and body of the time his form and pressure. 
Now, this overdone, or come tardy off, though it 
make the unskillful laugh, can not but make the 
judicious grieve ; the censure of the which one must, 
in your allowance, o'erweigh a whole theater of 
others. Oh there be players that I have seen play, 
— and heard others praise, and that highly, — not to 
speak it profanely, that, neither having the accent ol 
Christians, nor the gait of Christian, pagan, or Turk, 
have so strutted and bellowed, that I have thought 
some of Nature's journeymen had made men, and not 
made them well, they imitated humanity so abom- 
inably. — Shakespeare. 



THE SCIENCE OF UTTERANCE. iO 



SELECTIONS, 



THE ELOCUTIONS' OF THE PULPIT. 

I can not forbear regretting here, that a matter 
of such vast importance to preaching, as delivery, 
should be so generally neglected or misunderstood. 
A common apprehension prevails, indeed, that a 
strict regard to these rules would be deemed theatri- 
cal ; and the dread, perhaps, of incurring this imputa- 
tion is a restraint upon many. But is it not possible 
to obtain a just and expressive manner, perfectly 
consistent with the gravity of the pulpit, and yet 
quite distinct from the more passionate, strong, and 
diversified action of the theatre ? And is it not pos- 
sible to hit off this manner so easily and naturally, 
as to leave no room for just reflection? An affair 
this, it must be owned, of the utmost delicacy ; in 
which we shall probably often miscarry, and meet 
with abundance of censure at first. But, still, I imagine, 
that through the regulations of taste, the improve- 
ments of experience, the corrections of friendship, the 
feelings of piety, and the gradual mellowings of time, 
such an elocution may be acquired, as is above de- 
lineated ; and such as, when acquired, will make its 
way to the hearts of the hearers, through their ears 



76 THE SCIENCE OF UTTERANCE. 

and eyes, with a delight to both that is seldom felt ; 
while, contrary to what is now practiced, it will ap- 
pear to the former the very language of nature, and 
present to the latter the lively image of the preacher's 
soul. Were a taste for this kind of elocution to take 
place, it is difficult to say how much the preaching 
art would gain by it. Pronunciation would be stud- 
ied, an ear would be formed, the voice would be 
modulated, every feature of the face, every motion 
of the hands, every posture of the body, would be 
brought under right management. A graceful, and 
correct, and animated expression in all these would 
be ambitiously sought after; mutual criticisms and 
friendly hints would be universally acknowledged; 
light and direction would be borrowed from every 
quarter, and from every age. The best models of 
antiquity would in a particular manner be admired, 
surveyed, and imitated. The sing-song voice, and 
the see-saw gestures, i±* 1 may be allowed to use 
those expressions, would, of course, be exploded ; 
and, in time, nothing would be admitted, at least ap- 
proved, among performers, but what was decent, 
manly, and truly excellent in kind. Even the people 
themselves would contract, insensibly, a growing 
relish for such a manner ; and those preachers would 
at last be in chief repute with all, who followed 
nature, overlooked themselves, appeared totally ab- 
sorbed in the subject, and spoke with real propriety 
and pathos, from the immediate impulse of truth 
and virtue. — Jamies Fordyoe. 



THE SCIENCE OF UTTERANCE. 71 

THE CTISIIC. 

The Cynic is one who never sees a good quiility 
in a man, and jiever fails to see a bad one. He is the 
human owl, vigilant in darkness and blind to light, 
mousing for vermin, and never seeing nobh game. 

The Cynic puts all human actions into only 
two classes — openly bad, and secretly bad. All virtue; 
and generosity, and disinterestedness, are merely the 
appearance of good, but selfish at the bottom. He 
holds that no man does a good thing except for profit. 
The effect of his conversation upon your feelings is 
to chill and sear them ; to send you away sour and 
morose. 

His criticisms and innuendoes fall indiscrim- 
inately upon every lovely thing^ like frost upon the 
flowers. If Mr. A is pronounced a religious man, he 
will reply : yes^ on Sundays. Mr. B has joined the 
church : certainly; the elections are coming on. The 
minister of the gospel is called an example of dili- 
gence : it is his trade. Such a man is generous : oj 
othe)' men's money. This man is obliging : to lull sus- 
picion and' cheat you. That man is upright : because 
he is green. 

Thus his eye strains out every good quality, and 
takes in only the bad. To him religion is hypocrisy, 
honesty a preparation for fraud, virtue only a want 
of opportunity, and undeniable purity, asceticism. 
The livelong day he will coolly sit with sneering lip, 
transfixing every character that is presented. 

It is impossible to indulge in such habitual 
severity of opinion upon our fellow-men. without in- 
juring the tenderness and delicacy of our own feel- 



78 THE SCIENCE OE UTTERANCE. 

ings. A man will be what his most cherished feel- 
ings are. If he encourages a noble generosity, every 
feeling will be enriched by it ; if he nurse bitter and 
envenomed thoughts, his own spirit will absorb the 
poison, and he will crawl among men as a burnished 
adder, whose life is mischief, and whose errand is 
death. 

He who hunts for flowers, will find flowers; 
and he who loves weeds, may find weeds. Let it be 
remembered that no man, who is not himself mortally 
diseased, will have a relish for disease in others. 
Reject^ then^ the morbid ambition of the Cynicy or cease to 
call yourself a man, — H. W. JBeecher. 



DEFINITION OF ELOQUENCE. 

When public bodies are to be addressed on mo- 
mentous occasions, when great interests are at stake, 
and strong passions excited, nothing is valuable in 
speech, farther than it is connected with high intel- 
lectual and moral endowments. Clearness, force, 
and earnestness are the qualities which produce con- 
viction. True eloquence indeed does not consist in 
speech ; it cannot be brought from far. Labor and 
learning may toil for it, but they toil for it in vain : 
words and phrases my be marshaled in every way, but 
they can not compass it : it must exist in the man, 
in the subject, and in the occasion. Affected passion, 
intense expression, the pomp of declamation, — all 
may aspire after it ; they can not reach it : it comes, 
if it come at all, like the outbreaking of a fountain 
from the earth, or the bursting forth of volcanic fires, 
with spontaneous, original, native force. — Webster, 



THE SCIENCE OP UTTERANCE. 79 

THE OLD FOESAKEN SCHOOL-HOUSE. 

[Pure tone— conversational.] 

They've left the school-house, Charley, where years ago we sat 
And shot our paper bullets at the master's time-worn hat ; 
The hook is gone on which it hung, the master sleepeth now 
Where school-boy tricks can never cast a shadow o'er his 
brow. 

They've built a new, imposing one, — the pride of all the 

town, — 
And laughing lads and lasses go its broad steps up and down; 
A tower crowns its summit with a new, a monster bell. 
That youthful ears, in distant homes, may hear its music 

swell. 

Tm sitting in the. old one, with its battered, hingeless door ; 
The windows are all broken, and the stones lie on the floor ; 
I, alone, of all the boys who romped and studied here. 
Remain to see it battered up, and left so lone and drear. 

I'm sitting on the same old bench where we sat side by side, 

And carved our names upon the desk, when not by master 
eyed; 

Since then a dozen boys have sought their great skill to dis- 
play, 

And, like the foot-prints on the sand, ov/r names have passed 
away. 

'Twas here we learned to conjugate *'amo, amas, amat" 
While glances from the lasses made our hearts go pit-a-pat ; 
'Twas here we fell in love, you know, with girls who looked 
us through — [of blue. 

Yowrs with her piercing eyes of black, and mine with eyes 

Our sweethearts — pretty girls were they — to us how very 

dear — 
Bow down your head with me, my boy, and shed for them 

a tear ; 
With them the earthly school is out ; each lovely maid now 

stands [hands." 

before the one Great Master, in the "house not made with 

You tell me you axe far out West ; a lawyer, deep in laws* 
With Joe, who sat behind us here, and tickled us with straws; 
Look out for number one, my boys; may wealth come at your 
touch ; [much. 

But with your long, strong, legal straws don 't tickle men too 



80 THE SCIENCE OF UTTERANCE. 

Here, to the right, sat Jimmy Jones — you must remember 

Jim — 
He's teaching now, and punishing, as master punished him; 
What an unlucky lad he was ! his sky was dark with woes ; 
Whoever did the sinning it was Jim who got the blows. 

Those days are all gone by, my boys ; life's hill we 're going 

down, 
With here and there a silver hair amid the school-boy brown ; 
But memory can never die, so we*'l talk o'er the joys 
We shared together, in this house, when you and I were 

boys. 

Though ruthless hands may tear it down — this old house 

lone and drear. 
They'll not destroy the characters that started out from 

here ; 
Time's angry waves may sweep the shore and wash out all 

beside ; 
Bright as the stars that shine above, they shall for aye abide. 

I've seen the new house, Charley ; 'tis the pride of all the 
town, 

And laughing lads and lasses go its broad steps up and 
down, 

But you nor I, my dear old friend, can't love it half so well 

A.S this condemned, forsaken one, with cracked and tongue- 
less bell. 

John H. Yates. 



BYENING AT THE FAEM. 

Over the hill the farm-boy goes, 

His shadow^ lengthens along the land, 

A giant staff in a giant hand ; 

In the poplar tree above the spring, 

The katy-did begins to sing ; 

The early dews are falling ; — 
Into the stone-heap darts the mink 
The swallows skim the river's brink , 
And home to the woodland fly the crows, 



THE SCIENCE OP UTTERANCE, 81 

When over the hill the farm-boy goes, 
Cheerily calling, 

" Co', boss ! CO', boss ! co' ! co' ! co' 1" 
Farther, farther over the hill. 
Faintly calling, calling still, 

'' Co', boss ! co', boss ! co' ! co' ! " 

Now to her task the milkmaid goes. 

The cattle come crowding through the gate, 

Looing, pushing, little and great ; 

About the trough, by the barn-yard pump, 

The frolicsome yearlings frisk and jump, 

While the pleasant dews are falling ;- — 
The new milch heifer is quick and shy, 
But the old cow waits with tranquil eye, 
And the white stream into the bright pail flows, 
When to her task the milkmaid goes, 

Soothingly calling, 
"So, boss! so, boss! so! so! sol" 
The cheerful milkmaid takes her stool, 
And sits and milks in the twilight cool, 
Saying, "So 1 so, boss ! so ! so ! " 

To supper at last the farmer goes. 
The apples are pared, the paper read. 
The stories are told, then all to bed. 
Without, the crickets' ceaseless song 
Makes shrill the silence all night long ; 

The heavy dews are falling. 
The housewife's hand has turned the lock ; 
Drowsily ticks the kitchen clock ; 
The household sinks to deep repose. 



82 THE SCIENCE OF UTTERANCE. 

But still in sleep the farm-boy goes 
Singing, calling, 
"Oo'j boss! CO', boss! co' ! coM co'!'* 
And oft the milkmaid in her dreams, 
Drums in the pail with the flashing streams, 
Murmuring, "So, boss ! so ! " 

— «/. T. Trowbridge, 



HAMLET'S SOLILOQUY. 

Hamlet : — To fee, or not to be : that is the question : 
Whether 'tis nobler in the mind to suffer 
The stings and arrows of outrageous fortune, 
Or to take arms against -a sea of troubles. 
And by opposing end them? To die, — ^to sleep, — 
No more ; and by a sleep to say we end 
The heartache, and the thousand natural shocks 
That flesh is heir to, — 'tis a consummation 
Devoutly to be wish'd. To die, to sleep; 
To sleep! perchance to dream; — ay, there^s the rub ; 
For in that sleep of death what dreams may come 
When we have shuflled off this mortal coil, 
Must give us pause: there's the respect 
That makes calamity of so long life : 
For who would bear the whips and scorns of time. 
The oppressor's wrong, the proud man's contumely^ 
The pangs of despised hve^ the law's delay, 
The insolence of oflSce, and the spurns 
That patient merit of the unworthy takes, 
When he himself might his quietus make 
With a bare hodJdn? who would fardels bear, 
To grunt and sweat under a weary life, 
But, that the dread of something after death. 



THE SCIENCE OF UTTERANCE. 83 

The undiscovered country from whose bourne 

No traveler returns, puzzles the will, 

And makes us rather bear those ills we haA)B 

Than fly to others that we know not of? 

Thus conscience does make cowards of us all ; 

And thus the native hue of resolution 

Is sicklied o^er with the pale cast of thought; 

And enterprises of great pith and moment. 

With this regard, their currents turn awry, 

And lose the name of action, 

— Shahespeare. 



A LEGEND OF BEEGENZ. 

Girt round with rugged mountains, the fair Lake 
Constance lies ; in her blue heart reflected shine back 
the starry skies ; and, watching each white cloudlet 
float silently and slow, you think a piece of heaven 
lies on our earth below ! 

Midnight is there; and silence, enthroned in 
heaven, looks down upon her own calm mirror, upon 
a sleeping town : for Bregenz, that quaint city upon 
the Tyrol shore, has stood above Lake Constance a 
thousand years or more. Her battlements and tow- 
ers, from off their rocky steep, have cast their tremb- 
ling shadow for ages on the deep. Moxmtain, and 
lake, and valley, a sacred legend know, of how the 
town was saved, one night, three hundred years ago. 

Far from her home and kindred a Tyrol maid 
had fled, to serve in the Swiss valleys, and toil for 
daily bread ; and every year that fleeted so silently 
and fast, seemed to bear farther from her the mem- 
ory of the past. She served kind, gentle masters, 



84 THE SCIENCE OP UTTERANCE. 

nor asked for rest or change ; her friends seemed no 
more new ones, their speech seemed no more strange; 
and when she led her cattle to pasture every day, 
she ceased to look and wonder on which side Bre- 
genz lay. She spoke no more of Bregenz, with long- 
ing and with tears ; her Tyrol home seemed faded in 
a deep mist of years. She heeded not the rumors 
of Austrian war and strife; each day she rose con- 
tented to the calm toils of life. Yet, when her mas- 
ter's children would clustering round her stand, she 
sang them ancient ballads of her own native land ; 
and when at mom and evening she knelt before 
God's throne, the accents of her childhood rose to 
her lips alone. 

And so she dwelt : the valley more peaceful year 
by year; when suddenly strange portents of some 
great deed seemed near. The golden corn was bend- 
ing upon its fragile stalk, while farmers, heedless of 
their fields, paced up and down in talk. The men 
seemed stem and altered, with looks cast on the 
ground ; with anxious faces, one by one, the women 
gathered round ; all talk of flax, or spinning, or 
work was put away; the very children seemed 
afraid to go alone to play. 

One day, out in the meadow with strangers from 
the town, some secret plan discussing, the men 
walked up and down; yet now and then seemed 
watching a strange, uncertain gleam, that looked like 
lances 'mid the trees that stood below the stream. 

At eve they all assembled, then care and doubt 
were fled ; with jovial laugh they feasted ; the board 
was nobly spread. The elder of the village rose up, 
his glass in hand, and cried, "We drink the downfall 



THE SCIENCE OF UTTERANCE. 85 

of an accursed land ! The night is growing aarlier, 
ere one more day is flown, Bregenz, our foemen's 
stronghold, Bregenz shall be our own ! " 

The women shrank in terror (yet pride, too, had 
her part), but one poor Tyrol maiden felt death 
within her heart. Before her stood fair Bregenz ; 
once more her towers arose; what were the friends 
beside her ? Only her country's foes ! The faces of 
her kinsfolk, the days of childhood flown, the echoes 
of her mountains, reclaimed her as their own. Noth- 
ing she heard around her (though shouts rang forth 
again) ; gone were the green Swiss valleys, the pas- 
ture and the plain ; before her eyes one vision, and 
in her heart one cry, that said, "Go forth, save 
Bregenz, and then, if need be, die !" 

With trembling haste and breathless, with noise- 
less step, she sped; horses and weary cattle were 
standing in the shed ; she loosed the strong, white 
charger, that fed from out her hand, she mounted, 
and she turned his head toward her native land. 
Out — out into the darkness — faster, and still more 
fast ; the smooth grass flies behind her, the chestnut 
wood is past ; she looks up ; clouds are heavy ; why 
is her steed so slow? — scarcely the mnd beside them 
can pass them as they go. 

"Faster!" she cries, "Oh, faster!" Eleven the 
church-bells chime: "O God," she cries, "help Bre- 
genz, and bring me there in time ! " But louder than 
bells' ringing, or lowing of the kine, grows nearer in 
the midnight the rushing of the Ehine. Shall not 
the roaiing waters their headlong gallop check? 
The steed draws back in terror, — she leans upon his 
neck to watch the flowing darkness; the bank is 



86 THE SCIENCE OF UTTERANCE. 

high and steep; one pause — he staggers forward, 
and plunges in the deep. She strives to pierce the 
blackness, and looser throws the rein; her steed 
must breast the waters that dash above his mane. 
How gallantly, how nobly, he struggles through the 
foam, and see — in the far distance shine out the 
lights of home ! Up the steep bank he bears her, 
and now they rush again toward the heights of Bre- 
genz, that tower above the plain. They reach the 
gate of Bregenz just as the midnight rings, and out 
come serf and soldier to meet the news she brings. 

Bregenz is saved ! Ere daylight her battlements 
are manned ; defiance greets the army that marches 
on the land. And if to deeds heroic should endless 
fame be paid, Bregenz does well to honor the noble 
Tyrol maid. 

Three hundred years are vanished, and yet upon 
the hill an old stone gateway rises, to do her honor 
still. And there, when Bregenz women sit spinning 
in the shade, they see in quaint, old carving the 
Charger and the Maid. And when, to guard old 
Bregenz, by gateway, street, and tower, the warder 
paces all night long and calls each passing hour: 
"nine," "ten,'* "eleven," he cries aloud, and then (O 
crown of Fame !) when midnight pauses in the skies, 
he calls the maiden's name. — ■Adelaide Procter. 

CHAE-CO-0-AL ! 

[Char-co-o-all Char-co-o-al 1 Scale: 1—3—1—5; 5—3—1—5.] 

The chimney soot was falling fast. 
As through the streets and alleys passed 
A man who sang, with noise and din. 
This word of singular meaning, 

Char-co-o-al ! 



THE SCIENCE OP UTTERANCE. 87 

His face was grim, his nose upturned, 
As if the veiy ground he spurned — 
And like a trumpet sound was heard, 
The accents of that awful word, 

Char-co-o-al ! 

"Don't go there !'* was the warning sound; 
The pipes have all burst underground, 
The raging torrent's deep and wide;" 
But loud his trumpet voice replied, 

Char-co-o-al ! 

"Beware of Main street crossing deep, 
Away from Walnut gutter keep ! " 
This was the sweeper's only greet, 
A voice replied far up the street, 

Char-co-o-al I 

At set of sun, as homeward went. 
The joyous men of cent per cent. 
Counting the dollars in their till, 
A voice was heard, both loud and shrill, 

Char-co-o-al ! 

A man upon the watchman's round. 
Half steeped in mud and ice was found. 
Shouting with voice, though not so strong, 
That awful word which heads my song, 

Char-co-o-al 1 

There in the gas-light, dim and gray. 
Dreaming unconsciously he lay. 
And from his nose, turned up still more. 
Came sounding like a thrilling snore — 

Char-co-o-al 1 



88 THE SCIENCE OF UTTERANCE. 

[RAPID MOVEMENT.] 

Great rats, small rats, lean rats, brawny rats, 
Brown rats, black rats, gray rats, tawny rats, 
Grave old plodders, gay young f riskers, 
Fathers, mothers, uncles, cousins, 
Pointing tails and pricking whiskers. 
Families by tens and dozens. 
Brothers, sisters, husbands, wives — 
Followed the Piper for their lives. 



SUPPOSED SPEECH OP JOHN ADAMS. 

The war must go on. We must fight it through. 
And if the war must go on, why put off longer the 
Declaration of Independence? That measure will 
strengthen us. It will give us character abroad. 
Why then, sir, do we not, as soon as possible, change 
this from a civil to a national war? And since we 
must fight it through, why not put ourselves in a state 
to enjoy all the benefits of victory, if we gain the 
victory? If we fail, it can be no worse for us. But 
we shall not fail. The cause will raise up armies ; 
the cause will create navies. The people, — the people, 
if we are true to them, will carry us and will carry 
themselves gloriously through this struggle. 

I care not how fickle other people have been 
found. I know the people of these colonies ; and I 
know that resistance to British aggression is deep 
and settled in their hearts, and can not be eradicated. 
Every colony, indeed, has expressed its willingness 
to follow, if we but take the lead. Sir, the declara- 



THE SCIENCE OF UTTERANCE. 89 

tion will inspire the people with increased courage. 
Instead of a long and bloody war for restoration of 
privileges, for redress of grievances, for chartered 
immunities, held under a British king, set before 
them the glorious object of entire independence, and 
it will breathe into them anew the breath of life. 

Eead this declaration at the head of the army; 
every sword will be drawn from its scabbard, and 
the solemn vow uttered, to maintain it or to perish 
on the bed of honor. Puhlish it from the pulpit ; re- 
ligion will approve it, and the love of religious liberty 
will cling round it, resolved to stand with it or fall 
with it. Send it to the public halls ; proclaim it there ; 
let them hear it, who heard the first roar of the 
enemy's cannon ; let them see it, who saw their 
brothers and their sons fall on the field of Bunker 
Hill, and in the streets of Lexington and Concord, 
and the very walls will cry out in its support. 

Sir, I know the uncertainty of human afi'airs; 
but I see, I see clearly through this day's business. 
You and I, indeed, may rue it. We may not live to 
the time when this declaration shall be made good. 
We may die ; die colonists ; die slaves ; die, it may 
be, ignominiously, and on the scafi'old. Be it so. 
Be it so. If it be the pleasure of Heaven that my 
country shall require the poor ofi'ering of my life, the 
victim shall be ready at the appointed hour of sac- 
rifice, come when that hour may. But while I do 
live, let me have a country (or at least the hope of a 
country), and that 2^ free country. 

But whatever may be our fate, — be assured, be 
assured, that this declaration will stand. It may 
€0st treasure, and it may cost blood j but it will stand, 



90 THE SCIENCE OP UTTERANCE. 

and it will richly compensate for both. Through the 
thick gloom of the present, I see the brightness of 
the future, as the sun in heaven. We shall make 
this a glorious^ an immortal day. When we are in 
our graves, our children will honor it. They will 
celebrate it with thanksgiving, with festivit;^, with 
bonfires, and illuminations. On its annual return 
they will shed tears, copious, gushing tears, not of 
subjection and slavery, not of agony and distress, 
but of exultation, of gratitude, and of joy. 

Sir, before God, I believe the hour is come. 
My judgment approves this measure, and my whole 
heart is in it. All that I have, and all that I am, 
and all that I hope in this life, I am now ready here 
to stake upon it ; and I leave off as I began, that 
live or die, survive or perish, I am for the declara- 
tion. It is my living sentiment, and by the blessing 
of God it shall be my dying sentiment ; independence 
now ; and independence forever. — Webster. 



BUGLE SONG. 

[Dying, dying^ dying, should be read with one breath, each word 
fainter until almost inaudible.] 

The splendor falls on castle walls. 

And snowy summits old in story 
The long light shakes across the lakes, 
And the wild cataract leaps in glory. 
Blow, bugle, blow ; set the wild echoes flying ; 
Blow, bugle ; answer, echoes, dying, dying, dying. 

O hark, O hear ! how thin and clear. 

And thinner, clearer, farther going; 
O sweet and far, from cliff and scar. 
The horns of Elf-land faintly blowing I 
Blow ; let us hear the purple glens replying ; 
Blow, bugle ; answer, echoes, dying, dying, dying* 



THE SCIENCE OF UTTERANCE. 91 

O love, they die in yon rich sky, 

They faint on field, on hill, on river; 
Our echoes roll from soul to soul. 
And grow forever and forever. 
Blow, bugle, blow ; set the wild echoes flying, 
And answer, echoes, answer dying, dying, dying. 

— Tennyson, 



IGNOEANCB IN OUE COUNTET A CEIMB. 

In all the dungeons of the old world, where the 
strong champions of freedom are now pining in cap- 
tivity beneath the remorseless power of the tyrant, 
the morning sun does not send a glimmering ray 
into their cells, nor does night draw a thicker vail of 
darkness between them and the world, but the lone 
prisoner lifts his iron-laden arms to Heaven in prayer, 
that we, the depositaries of freedom and of human 
hopes, may be faithful to our sacred trust ; while, on 
the other hand, the pensioned advocates of despot- 
ism stand, with listening ear, to catch the first sound 
of lawless violence that is wafted from our shores, to 
note the first breach of faith or act of perfidy among 
us, and to convert them into arguments against lib- 
erty and the rights of man. 

There is ilot a shout sent up by an insane mob, 
on this side of the Atlantic, but it is echoed by a 
thousand presses, and by ten thousand tongues, 
along every mountain and valley on the other. 
There is not a conflagration kindled here by the 
ruthless hand of violence, but its flame glares over 
all Europe, from horizon to zenith. On each occur- 
rence of a flagitious scene, whether it be an act of 



92 THii SCIENCE OP UTTERANCE. 

turbulence and devastation, or a deed of perfidy or 
breach of faith, monarchs point them out as fruits 
of the growth and omens of the fate of republics, 
and claim for themselves and their heirs a further 
extension of the lease of despotism. 

The experience of the ages that are past, the 
hopes of the ages that are yet to come, unite their 
voices in an appeal to us ; they implore us to think 
more of the character of our people than of its num- 
bers ; to look upon our vast natural resources, not as 
tempters to ostentation and pride, but as a means to 
be converted, by the refining alchemy of education, 
into mental and spiritual treasures ; they supplicate 
us to seek for whatever complacency or self-satisfac- 
tion we are disposed to indulge, not in the extent of 
our territory, or in the products of our soil, but in 
the expansion and perpetuation of the same means 
of human happiness ; they beseech us to exchange 
the luxuries of sense for the joys of charity, and thus 
give to the world the example of a nation whose 
wisdom increases with its prosperity, and whose vir- 
tues are equal to its power. For these ends they en- 
join upon us a more earnest, a more universal, a 
more religious devotion to our exertions and re- 
sources, to the culture of the youthful mind and 
heart of the nation. Their gathered voices assert 
the eternal truth, that, in a repuhlic^ ignorance is a 
crime; and that private immorality is not less an 
opprobrium to the state than is guilt in the perpetra- 
tor. — H. Mann. 



THE SCIENCE OF UTTERANCE. 93 

ClIAEGB OP THE LIGHT BEIGADBL 

Half a league, half a league, 

Half a league o^zward, 
All in the valley of death 

Eode the six hundred. 
"Forward the Light Brigade ! 
Charge for the guns," he said. 
Into the valley of death 

Eode the six hundred. 

"Forward the Light Brigade !" 
Was there a man dismay 'd? 
Not though the soldier knew 

Some one had hlunder'd; 
'Theirs not to make reply, 
Theirs not to reason why. 
Theirs but to do and die. 
Into the valley of death 

Eode the six hundred. 

Ccmno^ to right of them, 
Gannon to left of them, 
Cannon in front of them, 

Volleyed and thunder d; 
Storm' d at with shot and shell, 
Boldly they rode and weU^ 
Into the jaws of death, 
Into the mouth of hell 

Eode the six hundred. 

FlasKd all their sabres bare, 
Flash'd as they tum'd in air. 
Sabring the gunners there, 



94 THE SCIENCE OF UTTERANCE. 

Charging an army, while 

All the world wondered: 
Plunged in the battery-smoke, 
Eight through the line they broke ; 

Cossack and Eussian 
Eeel'd from the sabre-stroke 

Shattered and sundered. 
Then they rode back, but not — 

Not the six hundred. 

Cannon to right of them, 
Cannon to left of them, 
Cannon behind them 

Volleyed and thundered; 
Storm' d at with shot and shell, 
While horse and hero fell. 
They that had fought so well 
Came through the jaws of death, 
Back from the mouth of heU^ 
All that was left of them ; 

Left of six hundred. 

When can their glory /ac?e? 

OA, the wild charge they made I 

All the world wonder' d. 
Honor the charge they made 1 
Honor the Light Brigade^ 

Noble six hundred ! 

— Tennyson* 



APOSTEOPHE TO COLD WATEE. 

[Paul Denton, a Methodist preacher in Texas, advertised a barbecne, 
with better liquor than is usually furnished. When the people were as- 
sembled, a desperado in the crowd walked up to him, and cried out: "Mr. 
Denton, your reverence has lied. You promised not only a good barbecue, 
but better liquor. Where 's the liquor ? " 

"There I " answered the preacher, in tones of thunder, pointing his 
motionless finger at a spring gushing up in two strong colnnms, with a 
sound like a shout of joy, from the bosom of the earth.] 

<* There ! " he repeated, with a look terrible as 
lightning, while his enemy actually trembled at his 



J 



THE SCIENCE OF UTTERANCE. 95 

feet; "there is the liquor which God, the Eternal, 
brews for all his children. Not in the simmering 
still, over smoky fires, choked with poisonous gases, 
surrounded with the stench of sickening odors and 
corruptions, doth your Father in heaven prepare the 
precious essence of life — pure, cold water ; but in the 
green glade and grassy dell, where the red deer 
wanders, and the child loves to play, there God brews 
it ; and down, low down in the deepest valleys, where 
the fountain murmurs and the rills sing ; and high 
upon the mountain tops, where the naked granite 
glitters like gold in the sun, where the storm-cloud 
broods and the thunder-storms crash ; and far out on 
the wide, wild sea, where the hurricane howls music, 
and the big wave rolls the chorus, sweeping the 
march of God — there He brews it, that beverage of 
life — health-giving water. 

"And everywhere it is a thing of life and beauty — 
gleaming in the dew-drop ; singing in the summer 
rain ; shining in the ice-gem, till the trees all seem 
turned to living jewels ; spreading a golden veil over 
the setting sun, or a white gauze around the mid- 
night moon ; sporting in the glacier ; folding its 
bright snow-curtain softly about the wintry world ; 
and weaving the many-colored bow, that seraph's 
zone of the siren — whose warp is the rain-drops of 
earth, whose woof is the sunbeam of heaven, all 
checked over with celestial flowers, by the mystic 
hand of refraction. 

"vStill always it is beautiful — that blessed life- 
water ! K'o poisonous bubbles are on its brink ; its 
foam brings not madness and murder; no blood stains 
its liquid glass ; pale widows and starving orphans 
weep not burning tears in its depths ] no drunkard's 
shrinking ghost, from the grave, curses it in the 
worlds of eternal despair ! Speak out, my friends : 
would you exchange it for the demon's drink, alco- 
hol?" A shout like the roar of a tempest, answered^ 
' No 1 " 

John B. Gough. 



96 THE SCIEIS^CE OF UTTERANCE. 

SUPERFICIAL LEARNING. 

"Well!" exclaimed a young lady, just returned 
from school, " my education is at last finished ; in- 
deed, it would be strange, if, after five years' hard 
application, anything were left incomplete. Happily, 
it is all over now, and I have nothing to do but exer- 
cise my various accomplishments. 

" Let me see ! — as to French, I am mistress of 
that, and speak it, if possible, with more fluency than 
English. Italian I can read with ease, and pronounce 
very well, as well, at least, and better than any of my 
friends ; and that is all one need wish for in Italian ; 
Music I have learned until I am perfectly sick of it. 
But, now that we have a grand piano, it will be de- 
lightful to play when we have company. 

"And then there are my Italian songs, which 
everybody allows I sing with taste, and as it is what 
so few people can pretend to, I am particularly glad 
that I can. My drawings are universally admired, 
especially the shells and flowers, which are beautiful, 
certainly ; besides this, I have a decided taste in all 
kinds of fancy ornaments. And then, my dancing 
and waltzing, in which our master himself owned 
that he could take me no farther ; — just the figure 
for it, certainly ; it would be unpardonable if I did 
not excel. 

"As to common things, geography, and history, 
and poetry, and philosophy, thank my stars, I have 
got through them all, so that I may consider myself 
not only perfectly accomplished, but also thoroughly 
well informed. 

" Well, the only wonder is that one head can con- 
tain it all ! " — Jane Taylor, 



THE SCIENCE OF UTTERANCE. 97 

IISTDUSTEY AND ELOQUENCE. 

In the ancient republics of Greece and Eome, 
oratory was a necessary branch of the finished edu- 
cation. A much smaller proportion of the citizens 
were educated than among us ; but of these a much 
larger number became orators. No man could hope 
for distinction or influence, and yet slight this art. 
The commanders of their armies were orators as well 
as soldiers, and ruled as well by their rhetorical as 
by their military skill. There was no trusting with 
them as with us, to a natural facility, or the acquisi- 
tion of an accidental fluency by occasional practice. 

They served an apprenticeship to the art. They 
passed through a regular course of instruction in 
schools. They submitted to long and laborious dis- 
cipline. They exercised themselves frequently, both 
before equals and in the presence of teachers, who 
criticised, reproved, rebuked, excited emulation, and 
left nothing undone which art and perseverance 
could accomplish. 

The greatest orators of antiquity, so far from 
being favored by natural tendencies, except, indeed, 
in their high intellectual endowments^ had to struggle 
against natural obstacles ; and, instead of growing 
up spontaneously to their unrivaled eminence, they 
forced themselves forward by the most discouraging, 
artificial process. 

Demosthenes combated an impediment in speech 
and an ungainliness of gesture, which, at first, drove 
him from the forum in disgrace. Cicero failed, at 
first, through weakness of lungs and an excessive 



98 THE SCIENCE OF UTTERANCE. 

vehemence of manner, which wearied the hearers 
and defeated his own purpose. These defects were 
conquered by study and discipline. He exiled him- 
self from home, and, during his absence in various 
lands, passed not a day without a rhetorical exercise, 
seeking the masters who were most severe in criti- 
cism, as the surest means of leading him to the per- 
fection at which he aimed. 

Such, too, was the education of their other great 
men. They were all, according to their ability and 
station, orators ; orators, not by nature or accident, 
but by education^ formed in a strict process of rhe- 
torical training. 

The inference to be drawn from these observa- 
tions is, that if so many of those who received an 
accomplished education, became accomplished ora- 
tors, because to become so was one purpose of their 
study ; then, it is in the power of a much larger pro- 
portion among us to form ourselves into creditable 
and accurate speakers. The inference should not be 
denied until proved false by experiment. 

Let this art be made an object of attention; 
let young men train themselves to it faithfully and 
long; and if any of competent talents and tolerable 
science be found, at last, incapable of expressing 
themselves in a continued and connected discourse, 
so as to answer the ends of public speaking, then^ and 
not till then^ let it be said, that a peculiar talent, or 
natural aptitude, is requisite, the want of which must 
render effort vain : then, and not till then, let us ac- 
quiesce in this indolent and timorous notion, which 
contradicts the whole testimony of antiquity and all 
the experience of the world. — Wirt. 



THE SCIENCE OF UTTERANCE. 99 

THE BUENING SHIP. 

The storm o'er the ocean flew furious and fast, 
And the waves rose in foam at the voice of the blast. 
And heavily labored the gale-beaten ship, 
Like a stout-hearted swimmer, the spray at his lip ; 
And dark was the sky o'er the mariner's path, 
Save when the wild lightning illumined in wrath. 

A young mother knelt in the cabin below. 
And pressing her babe to her bosom of snow, 
She prayed to her God, 'mid the hurricane wild, 
"0 Father, have mercy, look down on my child!" 
It passed, — the fierce whirlwind careered on its way, 
And the ship like an arrow divided the spray ; 
Her sails glimmered white in the beams of the moon, 
And the wind up aloft seemed to whistle a tune, — to 
whistle a tune. 

There was joy in the ship as she furrowed the foam, 
For fond hearts within her were dreaming of home. 
The young mother pressed her fond babe to her 

breast, 
And the husband sat cheerily down by her side. 
And looked with delight on the face of his bride, 
"Oh, happy," said he, "when our roaming is o'er, 
We '11 dwell in our cottage that stands by the shore. 
Already in fancy its roof I descry. 
And the smoke of its hearth curling up to the sky; 
Its garden so green, and its vine-covered wall ; 
The kind friends awaiting to welcome us all. 
And the children that sport by the old oaken tree." 
Ah gently the ship glided over the sea ! 
Hark ! what was that ? Hark ! Hark to the shout 1 



100 THE SCIENCE OP UTTERANCE. 

^^Fire!^'* Then a tramp and a rout, and an uproar 

of voices uprose on the air* — 
And the mother knelt down, and the half-spoken 

prayer 
That she offered to God in her agony wild, 
Was, "Father, have mercy, look down on my child !" 
She flew to her husband, she clung to his side. 
Oh ! there was her refuge whate'er might betide. 
'^Fire /" ^^FireT' It was raging above and below ; — 
And the cheeks of the sailors grew pale at the sight, 
And their eyes glistened wild in the glare of the light. 
'T was vain o'er the ravage the waters to drip ; 
The pitiless flame was the lord of the ship. 
And the smoke in thick wreaths mounted higher and 

higher. 
"O God ! it is fearful to perish by fire.'' 
Alone with destruction, alone on the sea, 
" Great Father of mercy, our hope is in thee." 

Sad at heart, and resigned, yet undaunted and brave, 
They lowered the boat, a mere speck on the wave. 
First entered the mother, enfolding her child : 
It knew she caressed it, looked upward and smiled. 
Cold, cold was the night as they drifted away. 
And mistily dawned o'er the pathway the day : — 
And they prayed for the light, and at noontide about. 
The sun o'er the waters shone joyously out. 

^^Hot a sail! '^ ^^Ho! a sail!'' cried the man at the 

lea, 
^^Ho! a sail!'' and they turned their glad eyes o'er 

the sea. 
*^They see us, they see us, the signal is waved ! 
They bear down upon us, they bear down upon us : 
Huzza! we are saved'' 



THE SCIENCE OF UTTERANCE. 101 

THE BELLS. 

SLEIGH BELLS. 

Hear the sledges with their bells, 
Silver hells ! 
What a world of merriment their melody foreteZ^ / 
How they tinkle^ tinkle^ tinkk. 

In the icy air of night, 
While the stars that oversprinklef 
All the heavens seem to twinkle 

With a crystsilline delight ; 
Keeping time, time, time, 
In a sort of Eunic rhyme^ 
To the tintinnabulation that so musically weZ?s 
From the hells, hells, hells, 
Bells, bells, bells. 
From the jingling and the tinkling of the bells. 

WEDDING bells. 

Hear the wedding bells — 
Golden hells! 
What a world of happiness their harmony /ore^Ks/ 
Through the balmy air of night 
How they ring out their delight 1 
From the molten golden notes, 

And all in tune. 
What a liquid ditty floats, 
To the turtle dove that listens, when she gloai^ 
On the moon I 
Oh, from out the sounding cells 
What a gush of euphony voluminously wells! 
How it swells! 
How it dwells — 



103 THE SCIENCE OF UTTERANCE. 

On the future ! How it tells 
Of the rapture that impels 
To the swinging and the ringing 
Of the hells^ bells, bells^ 

Of the BELLS, BELLS, BELLS, BELLS, 

Bells, bells, bells ! 
To the rhyming and the chiming of the bells, 

fire bells. 

Hear the loud alarum bells — 
Brazen bells, 
What a tale of terror now their tu7*hulency tells / 
In the startled ear of night. 
How they scream out their affright 1 
Too much horrified to speak, 
They can only shriek, shriek 
Out of tune. 
In a clamorous appealing to the mercy of the fire ! 
In a mad expostulation with the deaf and frantic^re, 
Leaping, higher, higher, higher 
With a desperate desire ; 
And a resolute endeavour, 
Now, now to sit or never 
By the side of the pale-faced moon ! 
Oh, the bells, bells, bells, 
What a tale their terror tells 
Of despair/ 
How they clang and clash and roar, 
What a horror they outpov/r 
On the bosom of the palpitating air 1 
Yet the ear it fully knows 
By the twanging 
And the clanging^ 



THE SCIENCE OP UTTERANCE. 103 

How the danger sinks and swells^ 
By the sinking or the swelling or the anger of the 
hells; 
OdhQ bells— 
Of the bells, bells, bells, beUs, 
Bells, bells, bells, 
In the clamor and the clcmgor of the bells 1 

FUNERAL bells. 

Hear the tolling of the bells, 
Iron bells. 
What a world of solemn thought their monody oom- 
pels ! 
In the silence of the night ; 
How we shiver with aifright, 
At the melancholy menace of their tone! 
For every sound that floats 
From the rust within their throats 

Is a groan. 
And the people — ah, the people — 
They dwell up in the steeple, 

All alone I 
And who tolling, tollhig, tolling 

In that muffled monotone. 
Feel a glory in so rolling 

On the human heart a stone. 
They are neither man nor woman — 
They are neither brute nor human — 

They are ghouls. 
And their king it is who tolls, 
And he rolls, rolls, rolls, rolls, 

A po&an from the bells I 
And his merry bosom swells 



104 THE SCIENCE OF UTTERANCE. 

With the ^odan of the helh ! 
And he dances and he ydls; 
Keeping time^ time, time, 
In a sort of Eunic rhyme. 

To the poean of the bells— 
Oftheiefe; 
Keeping time, time, time, 
In a sort of Eunic rhyme, 

To the throhhing of the belk, 
Of the bells, bells, bells ^ 

To the sobbing of the bells, 
Keeping time, time, time, 

As he knells, hnells, knells, 
In a happy Eunic rhyme, 

To the rolling of the bells — 
Of the bells, bells, bells — 

To the tolling of the bellsy 
Of the bells, bells, bells, bells — 

Bells, bells, bells ^ 
To the moaning and the groaning of the bells. 

— Edgar A. Poe. 



PHYSICAL GEOGRAPHY AND HISTORY. 

Physical or Natural Geography is a very compre^ 
hensive science ; it includes a knowledge of the ma^ 
terials of which the earth is composed. This knowl- 
edge embraces the science of Geology^ which names 
and arranges the rocks and other materials which 
compose the earth ; and of Chemistry, which teaches 
the constituent elements of these substances. 



THE SCIENCE OF UTTERANCE. 105 

Thus you see that sciences which may appear dis- 
tinct have an intimate connection with each other, 
since geology and chemistry are necessary to a com- 
plete knowledge of geography. Physical geography 
also comprehends a knowledge of those substances 
which grow out of the earth, and this knowledge is 
called Botany, 

We will suppose ourselves to be seated in a bal- 
loon, sufficiently elevated above the surface of the 
earth to be able to distinguish its general figure and 
surface. Let us look first at its figure. We behold, 
suspended, as it would seem, in empty space, though 
in reality surrounded by the material substance air^ a 
large ball, not exactly round, but a little flattened at 
each end or pole. 

This ball presents an uneven surface ; while it is 
turning around from west to east, let us examine the 
various objects which appear. For this we must 
approach nearer. Here we see a long strip of land 
extending almost from one pole to the other ; nearly 
in the center it seems penetrated by an arm of the 
ocean ; this must be the great American continent, 
separated by the Gulf of Mexico into a northern and 
southern part. 

We will suppose that our balloon is somewhat 
lowered, and directed over the northern part of this 
great continent ; and what do we now see ? On two 
sides are vast oceans, washing its eastern and western 
coasts, and on the north an ocean of ice sej^arates it 
from the north pole. Do you observe that chain of 
lakes ? These are called the Great Lakes, being the 
largest in the world. 



106 THE SCIENCE OF UTTERANCE. 

Let US approach nearer. Do you hear a sound 
like the rush of mighty waters ? It is the thundering 
Niagara, which had poured forth its mass of waters 
long before man had heard the roar of its cataract. 
But what becomes of this vast collection of water ? 
It hurries onward, forming mighty rivers and lakes, 
until it becomes lost in the great ocean which you 
see on the east. 

But we must not, in the sublimity of this scene, 
forget that we have other observations to make. Let 
us direct our course toward the middle of this country, 
which we call North America. There, from the 
north, flows a majestic river, receiving in its course 
many noble streams ; one, rapid and turbulent, bring- 
ing along mud and roots and trunks of trees torn up 
in its fury, comes foaming from the west, another, 
scarcely less rapid in its course, comes from the east ; 
the parent river, embracing them both with many 
other tributary streams, bears them on to the southern 
gulf. 

You see here an extensive country, through which 
the rivers descend from the north, from the east and 
west ; this is called a basin^ and many delightful 
valleys and plains does it contain ; its sides on the 
west and east are the Rocky Mountains, and the 
Apalachian on the north, a high ridge which divides 
the waters that flow toward the northern ocean from 
those which run toward the southern gulf. 

We will now go eastward, and pass that great 
chain of mountains which may well be called the 
back bone of our country. We are now in its eastern 
side. Look, and you will see many rivers flowing 
toward the eastern ocean. 



THE SCIENCE OF UTTERANCE. 107 

Do you observe the northeastern part of the sec- 
tion of -country we are now viewing ? You may there 
see mountains with snow-covered tops ; and farther 
west another chain, whose summits and sides are 
always verdant ; between these mountains, pursuing 
a southern course, a river is seen whose progress at 
first seems hurried, but by degrees its youthful im- 
petuosity subsides, and, with calm and placid motion, 
it bears itself on to an arm of the ocean, running in 
from the east, and forming the southern boundary to 
a lovely country. 

The valley of this river is adorned with the orna- 
ments of art, and the richest gifts of nature. This 
valley, and an extensive territory on the east and 
west of it are called New England, or the country of 
the pilgrims. History will tell you why these names 
are given. 

But our aerial journey is becoming too long ; we 
must retrace our way from the happy valley of the 
Connecticut. Let us go westward, and descend near 
to the earth — here we see our own Hudson, carrying 
on its bosom innumerable little objects, passing and 
repassing in rapid motion, as if actuated by a spirit 
of intelligence ; but, although not gifted with intelli- 
gence themselves, they are directed in their course by 
intelligent minds, and filled with rational beings, in- 
tent on business or pleasure. These steamboats ex- 
hibit one of the proudest victories which mind has 
ever achieved over matter, two destructive elements 
being made subservient to man's convenience, and 
obedient to his will. 



108 THE SCIENCE OF UTTERAI^CE. 

We have now arrived at a place where the Hud- 
son river ceases to be navigable ; and here, in a little 
flourishing city on its eastern bank we will alight 
from our imaginary balloon, and close our voyage of 
discovery. 

Such are some of the observations of physical 
geography ; in order to understand it, you must in 
imagination combine at one view the great features 
of nature — oceans, lakes and rivers, continents and 
islands, table-lands, basins, plains, valleys and deserts; 
these are all the subjects of this science. 

History and Physical Geography are very closely 
connected. Yet how little is known in connection 
with history of the physical features of the globe. 
There are histories without number, but it is only 
by a careful selection and perusal of the best authors, 
that much advantage can be derived from them. In 
early youth, history interests the mind chiefly on 
account of the pleasure derived from narrative. As 
the pupil advances in life, history ought to be 
regarded under a new aspect, and studied both for 
the sake of gaining information, and forming the 
mind to habits of discrimination and reflection. 

One who reads history merely for amusement, or 
who loads the memory with facts, without regard to 
their importance, or examination of their causes, 
may read much, and yet neither know men, manners, 
laws, arts and sciences, neither the past or the 
present world, nor the relations which they bear to 
each other. 

A modern French writer on education advises 
the student in history to make use of books of 
extracts, in which facts and principles may be noted 



THE SCIENCE OF UTTERANCE. 109 

in a definite and gystematic order. By this means, 
the student will, in process of time, possess a collec- 
tion of practical truths, and of illustrations of 
principle, arranged in order, and furnishing instruc- 
tion at once solid, diversified and complete. — Mrs. 
Phelps, 



CLAEENCE'S DEEAM. 

Clarence. — My dream was lengthen'd after life ; 
Oh, then began the tempest to my soul! 
I passed, methought, the melancholy flood 
With that grim ferryman, which poets write of, 
Unto the kingdom of perpetual night. 
The first that there did greet my stranger soul 
Was my great father-in-law, renowned Warwichj 
Who cried, — " What scourge for perjury 
Can this dark monarchy afford/a<^e Clarence?" 
And so he vanished; then came wandering by 
A shadow like an angel, with bright hair 
Dabbled in blood ; and he shriek' d out aloud, 
"Clarence is come — false, fleeting, perjured 
Clarence, 
That stabb'd me, in the field by Tewkesbury. 
Seize on him. Furies ; take him into torments I " 
With that, methought a legion oi foul fiends 
Environ'd me, and howled in mine ears 
Such hideous cries, that with the very noise 
I trembling wak'd^ and for a season after 
Could not believe but that I was in hell ! 
Such terrible impression made my dream. 
Oh, Brackenbury, I have done those things 
That now give evidence against the soul. 



110 THE SCIENCE OP UTTERANCE. 

For Edward's sake ; and see how he requites me I 

Oh, God if my deep prayers cannot appease Thee, 

Bat Thou wilt be avenged on my misdeedSf 

Yet execute Thy wrath on me alone ; 

Oh, spare my guiltless wife and my poor children 1 

I pray thee, gentle keeper, stay by me ; 

My soul is heavy, and I fain would sleep, 

— Shakespea/re. 

THE CHAEOOAL MAN. 

[ Conversiitional, with calling voice varied in adaptation to the sense 
—loud or low, near or distant, as required.] 

Though rudely blows the wintry blast, 
And sifting snows fall white and fast, 
Mark Haley drives along the street, 
Perched high upon his wagon seat ; 
His sombre face the storm defies, 
And thus from morn till eve he cries — 

'' Chareo' ! charco' ! " 
While echo faint and far replies — 
^^Hark, O! hark, O!" 
"Charco' !"—" Hark, !"— Such cheery sounds, 
Attend him on his daily rounds. 

The dust begrimes his ancient hat ; 

His coat is darker far than that ; 

'Tis odd to see his sooty form 

All speckled with the feathery storm, 

Yet in his honest bosom lies 

No spot, nor speck — though still he cries, 

"OharcoM charco'!" 
And many a roguish lad replies — 

"Ark, ho! ark, ho!" 
" Charco' ! " — " Ark, ho ! " — Such various sounds 
Announce Mark Haley's morning rounds. 



THE SCIENCE OF UTTERANCE. Ill 

Thus all the cold and wintry day 
He labors much for little pay, 
Yet feels no less of happiness 
Than many a richer man, I guess, 
When through the shades of eve he spies 
The light of his own home, and cries — 

"Charco'! charcoM" 
And Martha from the door replies — 

"Mark, ho! Mark, ho!" 
" Charco 1 " — "Mark, ho ! " — Such joy abounds 
When he has closed his daily rounds. 

The hearth is warm, the fire is bright ; 

And while his hand, washed clean and white, 

Holds Martha's tender hand once more, 

His glowing face bends fondly o'er 

The crib wherein his darling lies, 

And in a coaxing tone he cries, 

"Charco'! charco'!" 
And baby with a laugh replies — 

"Ah, go! ah, go!" 
^' Charco' ! "—"Ah, go ! "—while at the sounds 
The mother's heart with gladness bounds. 

Then honored be the charcoal man, 

Though dusky as an African. 

'T is not for you that chance to be 

A little better clad than he, 

His honest manhood to despise. 

Although from mom till eve he cries — 

"Charco'! charcoM" 
While mocking echo still replies — 

"Hark, o1 hark, O!" 
^* Charco' ! " — "Hark, O ! " — ^Long may the so^inds 
Proclaim Mark Haley's daily rounds ! 

—J. T, Trowbridge. 



112 THE SCIENCE OF UTTERANCE. 



THE BELLS OP SHANDON. 

[The chnrcli of Shandon is built on the ruins of Shandon Castle, and 
is a prominent object to the traveler as he approaches the city of Cork 
from any direction. Father Prout, or the Rev. Francis Mahoney, which 
was his true name, was a native of Cork.] 

With deep aifection and recollection, 

I often think of those Shandon bells. 

Whose sounds so wild wonld, in days of childhood, 

Fling round my cradle their magic spell. 

On this I ponder where'er I wander, 

And thus grow fonder, sweet Cork, of thee, 

With thy bells of Shandon 

That sound so grand on 
The pleasant waters of the river Lee. 

IVe heard bell's tolling ''old Adrian's Mole in,'* 

Their thunder rolling from the Vatican, 

And cymbals glorious, swinging uproarious 

In the gorgeous turrets of Notre Dame : 

But thy sound was sweeter than the dome of Peter 

Flings o'er the Tiber, pealing solemnly. 

O ! the bells of Shandon 

Sound far more grand on 
The pleasant waters of the river Lee. 

There's a bell in Moscow, while on tower and kiosko* 

In St. Sophia the Turkman gets. 

And loud in air calls men to prayer 

From the tapering summit of tall minarets. 

Such empty phantoms, I freely grant them ; 

But there's an anthem more dear to me, — 

'Tis the bells of Shandon, 

That sound so grand on 
The pleasant waters of the river Lee. 

— Father ProuU 



THE SCIENCE OP UTTERANCE. 113 

THE CATAEACT OF LODGES. 

[Rapid Movement. See also page 88,] 

How does the water 
Come down at Lodore? 

From its sources which well 
In the tarn on the fell ; 

From its fountains 

In the mountains, 
Its rills and its gills ; 

Through moss and through brake 
It runs and it creeps, 
For a while, till it sleeps 

In its own little lake. 
And thence at departing, 
Awakening and starting, 
It runs through the reeds, 
And away it proceeds, 
Through meadow and glade. 
In sun and in shade, 
And through the wood-shelter, 

Among crags in its flurry, 
Helter-skelter, 

Hurry-skurry. 

Here it comes sparkling, 
And there it lies darkling ; 
Now smoking and fi'othing, 
Its tumult and wrath in, 
TiU in this rapid race, 

On which it is bent, 
It reaches the place 

Of its steep descent. 



114 THE SCIENCE OF UTTERANCE. 

The cataract strong 
Then plunges along, 
Striking and raging, 
As if a war waging 
Its caverns and rocks among ; 
Spouting and frisking, 
Turning and twisting, 
Around and around 
With endless rebound : 
Smiting and fighting, 
A sight to delight in, 
Confounding, astounding. 
Dizzying and deafening the ear with its sound. 

Retreating and beating and meeting and sheeting. 
Delaying and straying and playing and spraying, 
Advancmg and prancing and glancing and dancing, 
And gleaming and streaming and steaming and 

beaming. 
And dashing and flashing and splashing and clashing, 
And so never ending, but always descending. 
Sounds and motions forever and ever are blending, 
All at once and all o'er, with a mighty uproar : 
And this way, the water comes down at Lodore. 



NOBODY'S CHILD. 

[This should be rendered in the tender, pathetic voice of a child, 
and, when so given, it is exquisitely beautiful. The sad, touching voice 
should kindle with expectation at the close.] 

Alone in the dreary, pitiless street, 
With my torn old dress, and bare cold feet, 
All day have I wandered to and fro, 
Hungry and shivering, and no where to go ; 



THE SCIENCE OF UTTERANCE. 115 

The night's coming on in darkness and dread, 
And the chill sleet beating upon my bare head. 
Oh ! why does the wind blow upon me so wild? 
Is it because I am nobody's child? 

Just over the way there's a flood of light, 

And warmth, and beauty, and all things bright ; 

Beautiful children, in robes so fair, 

Are caroling songs in their rapture there. 

1 wonder if they, in their blissful glee, 

Would pity a poor little beggar like me, 

Wandering alone in the merciless street, 

Naked and shivering, and nothing to eat? 

Oh ! what shall I do when the night comes down 

In its terrible blackness all over the town? 

Shall I lay me down 'neath the angry sky, 

On the cold hard pavement, alone to die. 

When the beautiful children their prayers have said, 

And their mammas have tucked them up snugly in 

bed? 
For no dear mother on me ever smiled. 
Why is it, I wonder, I'm nobody's child? 

No father, no mother, no sister, not one 
In ail the world loves me, e'en the little dogs run 
When I wander too near them ; 'tis wondrous to see 
How everything shrinks from a beggar like me ! 
Perhaps 'tis a dream ; but sometimes, when I lie 
Gazing far up in the dark blue sky. 
Watching for hours some large bright star, 
I fancy the beautiful gates are ajar. 



116 THE SCIENCE OF UTTERANCE. 

And a host of white-robed, nameless things, 

Come fluttering o'er me on gilded wings ; 

A hand that is strangely soft and fair 

Caresses gently my tangled hair, 

And a voice like the carol of some wild bird— 

The sweetest voice that was ever heard — 

Calls me many a dear, pet name. 

Till my heart and spirit are all aflame. 

They tell me of such unbounded love, 
And bid me come up to their home above; 
And then with such pitiful, sad surprise, 
They look at me with their sweet tender eyes, 
And it seems to me, out of the dreary night 
I am going up to that world of light ; 
And away from the hunger and storm so wild ; 
I am sure I shall then be somebody's child. 

—Fhila H. Goat, 




APPENDIX. 



WORDS OFTEN MISPRONOUNCED. 



Aaron, dr'un. 

abdomen, ab-do'men, 

abject, ab'ject, 

absolutory, ab-sol'u-tdry, 

academian, dc-a-di'mt-an, 

acclimate, ac-cli'mdte, 

accoutre, ac-koo'ter, 

acetate, as'e-tate, 

acorn, a'cSrn. 

acoustics, a-kow'sttks. 

Adagio, a-dd'jo, 

adamantian, ad-a'tnan-te'an. 

adipose, ad'i-pose. 

Adonis, a-do'nis, • 

advertisement, ad-ver' tis-ment, 

iEneid, e-ne'id. 

aerate, d'er-ate, 

aerie, e're or d're. 

aeronaut, d' -er-onaut, 

aged, d'ged, 

alcoran, aV co-ran, 

alias, d'le-as. 

allegro, aUy-gro, 

allopathy, al-lop'a-thy, 

ally, a/-/y. 

almond, d'niond. 

alpaca, al-pac'a, 

altercation, dUter-ca-tion, 

ambergris, am'ber-grees. 



amenable, a-me'na-ble 
amour, a-moor' , 
anchovy, an-cho'vy, 
antepenult, an-te-pe-nuW , 
antipodes, ari-tip' o-dez. 
Aphrodite, af-ro-di'te, 
apodosis, a-pod'o-sis, 
apparatus, ap-pa-rd'tus, 
apricot, d'pri-cot. 
apropos, d'pro'po' , 
aquiline, dk'we-ltn or -line. 
Arab, dr'ab. 
archangel, ark-an'jel, 
arctic, ark' tic, 
area, a're-a, 
argentine, ar'jen-tlne, 
Ariadne, d-ri-ad'ne^ 
Arion, a-rVon, 
Archimedes, ar-ke-me' dez, 
Arkansas, dr-kan'sas, 
arquebuse, ar'kwe-bus, 
Asia, d'-she-a, 
aspirant, as-pir'ant, 
assets, as' sets, 
ate, ate, 

attache, at'td'skd, 
Aubert, o'bdr' , 
audacious, au-dd'cious, 
aureola, au-re'o-la. 



WORDS OFTEN MISPRONOUNCED. 



au revoir, d'ruv'wdr. 
ay or aye, a, 
aye (meaning yes), t, 
attacked, at-takt' , 
aunt, ant, 

bade, bad. 
bagatelle, bag-a-tel' , 
badinage, bdd'in-dzh, 
Balmoral, bal-mor'al 
Balzac, bdl'zac' . 
Barrabas, ba-rab'bas, 
baS'bleu^ ba'bluh. 
bass relief, bass' relief. 
bath, bath. 
Beatrice Cenci, ba-d-tre'cha 

chen'che, 
beau monde, bo'-mond' 
Beelzebub, be-el'ze-bub. 
Beethoven, bd'to-fen, 
bel-esprit, beV-ds'pre, 
bellows, beVlus. 
beneath, be-neath. 
Be'ranger^ ba' rong' zha* 
bivouac, biv'wdk. 
blackguard, blag'gard. 
blatant, bld'tant, 
blase\ bla'zd' , 
Boccaccio, bo-kd'cho, 
bombastic, bum-bds'tic. 
Boileau, bwd'lo. 
Boleyn, booHn, 
Bolingbroke, bol' ing-brobk, 
Bonnat, bun'nd' , 
Borghese, b6r-gd'zd, 
bouquet, bob'-kd', 
Bramin, brd'min, 
bravo, brdvo. 



brigand, brig' and. 
brigantine, brig'-an-tine, 
bromine, bro'min. 
bromide, bro'inid, 
bronchitis, bron-kl'tis. 
Brougham, b7''ob'am. 
Buddha, bWod'a. 

caldron, cat' divn. 
calf, calf. 

calligraphy, cal4ig'ra-phy, 
calliope, cal-ll'ope. 
camel opard, ca-inel' o-pard, 
Canaanite, cd'nait-lte. 
canine, ca-nine' . 
caoutchouc, koo'chook^ 
carbine, car' bine, 
caret, cd'ret, 
careme, kd'rdni. 
caricature, cdr'i-cat'ure, 
carmine, car'mine. 
carte-de-visite, kart-de-ve zet*, 
carte blanche, kart blongsh, 
cartridge, cdr'tridge. 
catechumen, kdt-e-ku' men. 
Catiline, kat'i-line. 
caviar, ka've'dr'. 
Cayenne, ka-en', 
Cecil, ses'il, 
cemetery, sem'-e-tery, 
cerement, sere'ment, 
chalcedonic, kal-se-ddn'ic, 
Cham, kdm, 
chaos, ka'ds, 
Cherubini, kd-roo-be'ne, 
chicanery, she-cd'-ner-y, 
chiropodist, ki-rop' o-dist. 
chloride, klo'rid. 



WORDS OFTEN MISPRONOUNCED 



Chopin, s ho' pang', 
chorist, ko'rist. 
cicatrice, sik'a-tris, 
Cincinnati, sin-sin-nd-ti, 
citrate, cit'rate. 
clandestine, clan-des'tine. 
coadjutor, co-ad-ju' tor, 
cockatrice, cock' a-trlce , 
coffee, kof'fe. 
cognac, kon'ydk. 
Colbert, kul'bdr. 
combatant, co?n' ba-tant, 
combativeness, com' ba-tive-ness 
comparable, cd?n'para-ble, 
comparative, corn-par' a-tive. 
comptroller, con-troi'er, 
conch, kongk. 
conduit, kon'dit, 
confidant, con'Ji-ddnt', 
connoisseur, con-nis-sur' , 
contumely, con'tu-7ne'ly, 
conversant, con'ver-sant, 
coral, cor'aL 
Corot, ko'ro' , 
cortege, kSr-tdzh, 
corvette, kSr'vet', 
coterie, ko'te-re' , 
eoup^^ koo'pd! . 
courier, koo're-er, 
Courbetj koor'ba' , 
courteous, kur'te-us, 
courtier, kort'yer. 
Creek, crTek. 
crematory, crem'a-to-ry, 
cuirass, kwe'ras', 
cuisine, kwe'zen, 
cupola, cu' pa-la, 
Curacoa, koo-ra-so' . 



cynosure, si'no-shur 
Czerny, chdr'iti, 

debris, da'bre' 
debut, da'bu' . 
debutant, da'bu'tong' , 
decade, dek'ade 
declivous, de-cli'vous, 
decorous, de-co'rous, 
dedecorous, de-dec' o-rus, 
defalcate, de-fdVcate, 
deficit, def'i'Cit. 
degage, da! ga' zhd' . 
deglutition, deg-lu-tish'un, 
degout, dd'goo' . 
Delaroche, de'la'rush. 
demoniacal, dem-o-nl' a-cal, 
demonstrsLtive, de-??idn' stra-ttve, 
de'nouemenff dd'fio'mong, 
dernier, ddrn'ya' . 
Descartes, dd'kdrt' . 
dishabille, dis-a-bW . 
Desgoffe, dd'guf, 
despicable, des' -pic-a-ble, 
de'tour, dd'toor' . 
de tropy da'-tro' , 
devoir, dur-wdr' , 
diaresis, di'er'e-sis, 
diamond, di'a-viond, 
Diana, Di-dn'a. 
dinarchy, din'ar-ky, 
dishevelled, de'shev'-ld. 
disputable, dis'pu-td-ble, 
disputant, dis'pu-tdnt, 
Disraeli, diz-ra'el-e, 
distich, dis'tik. 
distingue, dis'tang'ga' , 
divan, di-van' . 



WORDS OFTEN MISPRONOUNCED. 



docile, doHL 
dolce, ddl'chd. 
domine, dom'i-ne, 
donative, ddn'a-tive, 
Doric, dor'ic, 
dromedary, dru7nJe-da-ry, 
drought, drowt, 
dynasty, dl'nas-ty, 

eclat y a'kla', 

edile, edile, 

e*en, en, 

egregious, e-gre'jus, 

elephantine, el-e-fan'tm, 

elite, a' let, 

enervate, e-ner'vate. 

English, eng'glish, 

ennui J on'we' , 

ensemble^ ong'song'bl. 

entree^ ong'tra' . 

enunciate, e-nun-she-dt, 

envelope, en-ve-lope. 

Epicurean, ep-i-cu-re' an, 

epoch, ep^ok, 

err, er. 

erysipelas, er-e-sip'e-las. 

espionage, es'pe-o-ndzh' . 

etuiy d'twe' . 

etagere, d'ta'zhdr, 

exile, eks'ile. 

exorable, ex'o-ra-ble, 

expos ^^ eks*pd'zd' , 

exquisite, eks' quiz-it, 

extempore, eks-tem'po-re. 

extraordinary, ex-trdr' di-na-ry , 

eyre, dr, 

facdde^ fa' sad. 



facile, fds'il. 
fac-simile, fdc-sim-i-le, 
falcon, faw'kn, 
faro, fdr'o. 
faubourgs fo'burg, 
faucet, faW'Set, 
Faure^ for, 
feoff, fef. 
finale, fi-ndHe, 
finance, ft-nance', 
financier, fn-an-ser' , 
finesse, fe'nes' , 
fiord, fe-Srd' , 
flaccid, flak'-sid, 
florist, fio-rist, 
forge, forge. 
fortnight, fort'nite. 
Friere, fdre. 
Freycinet, frd'se'nd, 
franchise, fran'chiz, 
Froude, frood, 

Gaelic, gd'lik, 
gallows, gal'lus, 
Ganz, gdnts, 
gsiol, jail. 
gape, gdp or gdp. 
Garibaldi, gar-e-bdl'di, 
Gerome, zhd'rom' , 
ghoul, gobl. 
giaour, jowr. 
Gil Bias, he I bids, 
glacier, glas'e-er. 
gondola, gon' do-la, 
Gounod, goo' no' . 
Graefe, grd'fe. 
granary, grdn'a-ry, 
grimace, grf-mace'. 



WORDS OFTEN MISPRONOUNCED. 



g^imy, gri'my. 
g^oat, gf'aut, 
guano, gwd'fto. 
guilotine, gil'lo-ten', 
guipure, ge'pur^, 
Guizot, ge'zo' . 
Gumbert, goo77i'bert, 
gyve, jlv, 

Haeckel., heck' el, 
halibut, hol'e-but, 
harem, ha! rem, 
haricot, a-re'kd , 
Hause^ how'ze, 
Hebe, he' be, 
height, hit, 
Heine, hl'ne, 
heinous, hd'nus, 
Hemans, hem'anz, 
heraldic, he-raVdic, 
heroine, her'o-m, 
Heyse, hi'ze, 
hollyhock, hoVly-hock, 
horizon, ho-ri'zon, 
hydropathy, hy-drop' a-thy , 
hygiene, hy'gf-me. 
hyperbole, hy-per'bo-le, 

impiously, im'pi-ous4y, 
incognito, in-cog'ni-td. 
incomparable, in-com'pa-ra-ble, 
indecorous, in-de-co'rus, 
indicatory, in' di-ca-to-ry . 
indisputable, in-dis'pu-ta-ble, 
industry, in'dus-try. 
Ingelow, in'je-lo, 
inquiry, in-quVry. 
interesting, in'ter-est-ing. 



irascible, i-rds'cf-ble, 

Iowa, i'owa, 

irrefragable, ir-refra-ga-ble. 

irremediable, ir-re-me' di-a-ble , 

isolate, is'o-late, 

Italian, i-tal'-yan, 

Ixion, iks-l'on, 

jaundice, jdn'dis, 
jugular, ju'gu-lar, 
juvenile, ju've-ml, 
Kahn, kawn or kdn, 
kiln, kil. 

laconism, lak'o-nism, 
lamentable, lam' ent-a-ble . 
Lange^ Idng'e, 

lang syne, Idng sin, not zin, 
Laocoon, la-oc'o-on, 
laugh, Idf, 
Leipsic, lip'sik, 
leisure, le'zhur, 
lenient, le'ni-ent, 
lenitive, len'i-tive, 
Leroux, le-roo' , 
lethargic, le-thdr*gic, 
lever, le'ver. 
litigious, le-tij'us, 
louis d'or, lob' e dSr, 
lyceum, li'Ce'u77t, 
Lyonnaise, le'un'ndz' , 

Machiavelian, mak-e-a-vel'yan, 

magi, 77ia'ji, 

maintenance, 77idn' ten-ayue , 

mall, i7idl. 

manes, ma'nez, 

maniacal, 77ia-7ii'ac-al. 



WORDS OFTEN MISPRONOUNCED. 



mansard roof, man' sard, 
maritime, mar' 4-tim, 
mayonnaise, md'yon'dz, 
mechanist, mek'an-ist, 
medicinal, me-dicH-naL 
meerschaum, mar' shazvm, 
Meissonier, md'son'ya' , 
Melpomene, mel-pom' e-ne, 
menioir, mem'wo7, 
menagery, me-ndzh'e-re, 
meningitis, ^nen-in-ji'tis, 
mercantile, mer' can-til, 
Milan ^ ml' Ian. 
Millet, mil' Id', 
mirage, me'rdzh' , 
mischievous, mis'che-vus, 
misconstrue, mis-con' strob, 
misogyny, me-soj'e-ne. 
Mo Here, mul'ydr' , 
Monacp, mon'-a-cd, 
monsieur, mus'y4r\ 
morale, nio'rdl' , 
morceau, mdr'so', 
museum, mu-ze'um, 
myrmidon, mitr' me-ddn. 



nape, nap, 
national, ndsh'un-al, 
nauseous, ndw'shus, 
neglige', na'gle'zhd'. 
Nemesis, nem'e-sis, 
nomad, nom'ad, 
Notre Dame, no'tre ddm, 
nuptial, nup'shaL 

obligatory, ob'ti-ga-tory, 
occult, oc-cult' . 



octuple, oc'tU'ple, 
ogled, o'gld. 
onyx, o'nyx, 
orgies, or'jiz, 
Orion, o-rl'un, 
orison, or'e-zun. 
orotund, o'ro-tund, 
orthoepist, or' -tho-e-pist, 
otium, o'she-um, 
overtures, o'ver-tures. 

pageant, pdj'ent, 
Palestine, pal'es-tine, 
parabola, pa-ra' bo-la, 
pathos, pd-thos. 
patriot, pa'tri-ot, 
patronage, pat'ron-age, 
patroness, pd-tron-ess, 
patronize, pat'ron-ize, 
pedestal, ped'es-tal, 
Pegasus, peg'a-sus, 
Penelope, pe-nel'o-pe. 
peony, pe'-o-ny. 
Petruchio, pe-troo'ke-o, 
pharmaceutic, far-ma-su' tik^ 
phonics, fon'iks, 
pianoforte, pe-d'no-for'ta. 
piquant, pi k' ant, 
placard, pla card' . 
plateau, pla' to. 
plebeian, ple-be'yan, 
poignant, poi'nant, 
polonaise, pol'o-ndz, 
Pompeii, pojn-pd'ye, 
porcelain, pSr'ce-nn, 
prebend, preb'end. 
precedence, pre-se'dence. 
precedent (adj.), pre-se'dent. 



WORDS OFTEN MISPRONOUNCED. 



precedent {noun), pres' -e-dent. 
prelude {noun), prel'-ude, 
premier, pretn'ya. 
prestige, prds'tezh' , 
pronunciation, pro-nuns he-d' shun. 
prosaic, p7V-za'ic. 
protasis, pj^dt'a-sis. 
pjvtege, p7'o' td' zha' . 
pro tempore, tem'po-re. 
protestation, prot' es-ta-tion^ 
pseudo, su'do. 
Psyche, si'ke, 
Ptolemaic, iol-e-md'ic, 
puerile, pu'er-tl. 
pyramidal, pe-rdm' i-daU 
pyrites, pe-rVtez. 

quadrille, ka-driV , 
qui vive, ke vev, 
quoit, kwoit. 

raspberry, rdz'ber-re, 
ration, r a' shun. 
rational, rash'un-aL 
recess, re-cess' , 
receptivity, rec' ep-tiv' i-ty, 
reciprocity, rec-i-proc'i-ty. 
reconnoissance, re-kon'ni'sdnce, 
refutable, re-fu' ta-ble , 
regime, rd'zhein. 
remediable, re-me' di-a-ble, 
renaissance, re-nd' sdngs, 
rendezvous^ rong'-da'voo, 
research, research! . 
restaurant, res'to-rant, 
Roland, Ro'land. 

Schurz (Carl), shoorts. 



stance, sd- dngss' . 
Sedan, se-dan' , 
seine, sen, 
Seine, sdn. 
Serapis, se-rd'pis. 
sesame, ses'a-me. 
sheik, shek. 
shew, sho, 
shewn, shon, 
silhouette, se'lgo'et*, 
sinecure, si'ne-cUK 

sine die, si'ne di'e, 

sirup, sir' -up. 

slabber, sldb'ber. 

sleek, sleek. 

sobriquet, so'b7'e'kd, 

soiree, swd'rd'. 

solecism, sol'e-cism. 

souvenir, s'obv'ner, 

spermaceti, sper-ma-ce'tV, 

spinach, spin' -age. 

steadfastly, sted' fast-le . 

suite, swet. 

sulphuric, sul-fu'ric. 

Suppe, sob'pe. 

supple, sup'pl. 

syllabic, sil'lab'ic, 

tapestry, tdp'es-tre, 
tapis, td'pe' . 
tartaric, tar-tar 'ic, 
Telemachus, te-lem'a-kus. 
Terpsichore, terp-sik' o-re. 
tete-a-tete, tdte'a-tat. 
Thiers, te-dr' . 
tiny, ti'ny. 
tout-a-fait, tob'ta'-fd, 
transition, tran-sizh' un. 



8 



WORDS OFTEN MISPRONOUNCED. 



troche, tro'ke, 
trousseaUy trFo'so', 
Tuileries, twe-ie-re'. 



Vibert, Ve'bar*. 
Virchow^ fir*kd, 
viscount, vi' count. 



vagary, va-ga'ry. 
valet ^ vdV-a! , 
vehemence, ve'he-mence, 
Venezuela, ven-e-zue' la. 



ycleped, e-klept' , 
Zamacois, thd-md-ko^is. 
Zeus, ze-us. 



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